Episode 9 Film 2015

Episode 9

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Hello and welcome to Film 2015. We are on Twitter. Get in touch. Coming


up on the show. Hard drives and heartache, Michael Fassbender stars


as Steve Jobs. What do you do? I play the orchestra. Maggie Smith is


not a happy camper in Alan Bennett's the Lady in the Van. Merry


Christmas! Shut the door! I would not go up there if I were you, Irish


horror flick the Hallow. And we will take a look at Tangerine. Danny


Leigh and the Daily Telegraph's Robbie Collin. Hello. It never gets


tired. First up Steve Jobs written by Aaron Sorkin and directed by


Danny Boyle. Michael Fassbender stars as the digital Messiah who


gave us Apple. What if the computer was a beautiful object, something


that you want to look at and have in your home. What if, instead of it


being in the right hands it was in everyone's hands? You would be


talking about the most tectonic shift in the status quo ever. Steve


Jobsis a fictional retelling about how he became Steve Jobs, but it is


about creative genius. He has changed the world and the way it


works and the way we communicate with one another. Fix it! We are not


a pit crew at Daytona, this can't be fixed in seconds. The universe was


created in a third of that time. Someday you will have to tell us how


you did it! All these guys can see the next idea and Aaron Sorkin did a


great job of burrowing into that and exposing what made him tick. What


did you do? ! You can't write code, you are not an engineer, you can't


put a hammer to a nail. The graphical interface was stolen and


someone else designed the box so how come ten times a day I read that


Steve Jobs is a genius? What do you do? I play the orchestra. I thought


the script was the best modern-day script I have ever read. For sure. I


knew I did not want to write about the life of Steve Jobs where we land


on his greatest hits. That seemed like dramatising a Wikipedia page. I


am begging you to manage expectations out there. This reminds


you of a friendly face, warm and playful. It needs to say hello. It


is set in a pressurised backstage environment and what you get is this


almost action movie with words, the pace with which it moves is


incredibly exciting. You are issuing contradictory instructions, you are


making people miserable. Even if it were true that does not sound that


diabolical. Danny is without doubt the most positive and energetic


director I have ever worked with. I think he injects the same energy in


his visual storytelling and the sort of energy that he puts into the


camera. I was thrilled with what Danny Boyle did because it's not


easy, you have a lot of dialogue. Danny Boyle took that and with


angles and editing he married it to the words and the rhythm of the


words. Everything came together and everything was going into making the


same movie. That does not often happen. Artists lead and hacks ask


for a show of hands. What do you think? It's not about Steve Jobs, it


is a version of him. For any bad-tempered visionary. It is also


about Aaron Sorkin and I think it is mostly about Aaron Sorkin and the


film belongs to him. It is filled with dialogue that only Aaron Sorkin


writes. Everyone is 200% more articulate than anyone has ever been


in life. It is a verbal blockbuster. It is an action movie spectacular.


You have to love dialogue to have a good time with the movie but I do.


Part of the magic of cinema is that everyone looks better than in real


life and hear everybody talks about better too. A lot better. I did not


get that Aaron Sorkin domination, obviously he is at the four, but


this is a collision between Danny Boyle, the effervescent visual


stylist, and one of the greatest leading men of his generation,


Michael Fassbender. And a handful of blue Smarties and something has to


give. There has to be a spirit of compromise and collaboration that


the subject never grasped was necessary. The thing that happens is


that Danny Boyle recedes into the background although there is a great


visual innovation. It is set in three distinct time periods, the


first is 1984, shot on 16mm film. The second one shot on 85, and the


third in digital with the introduction of the iMac. Even the


visual texture of the world is bending to the will ask the jobs. He


is there as this in movable object in the centre. It has to be subtle


because Danny Boyle has two reel himself in. We think of him as being


a kinetic director and that is what he is great at but if you are going


to make this script in the style of Trainspotting, there is no space for


that. It is like sharing a small lift with a fat man with Aaron


Sorkin. You cannot do much. That is why in the West Wing they are


walking and talking because you can't do anything more interesting


visually. The social network is just back and forth over a table. It


would be bedlam if you did anything else. You don't need anything else.


Kate Winslet, without her you would be like, stop shouting. She is


magnificent. She plays the marketing Guru. If it was just Fassbender and


Aaron Sorkin, it would lack humanity and what she does by standing on the


sideline, handing him a tissue or a biscuit, she manages to ground the


drama and bring it back to the real world which is important. It is not


like the social network where it is purely this great man, Citizen Kane


like thing. Look at this guy, he is the modern world so pay attention.


It is a more intimate character study, more close-up and


touchy-feely. It will appeal to some people. It is a much softer film, it


is about the modern world but I don't think Aaron Sorkin likes the


modern world much. He does not like Marks and about but he likes Steve


Jobs. I liked the fact that they are brazen about it and Michael


Fassbender looks as though he could have been designed by Apple. He is


so perfect. There is nothing superfluous there. He fits the role.


What a big role to take on. Kate Winslet said last week, I could not


get over the amount of pages I had to learn and it made me feel better


because what does Michael had to learn! It is like being in an


extraordinary play. There is reams and reams of dialogue. Danny Boyle


does it very carefully, making sure supporting characters share the


spotlight. Catherine Waterston was great in inherent Vice earlier this


year. She plays Steve Jobs' one-time lover. She is in the film briefly


but she makes an enormous impact. I know exactly what she is like. And


Seth Rogen. That is where Danny Boyle finds a bit of space to work


with. He is working with the actors. What Aaron Sorkin gives you


is a script with no stage directions and it is just words on a page and


it is the director who has to relate to that likes Steve Jobs never did.


Alan Bennett's the Lady in the Van finally reaches the big screen. It


is directed by Nicholas Hytner, starring Maggie Smith as the in


fragrant vagrant who comes to stay. You are not St John are you? Who? My


name is Bennett. Alan Bennett bought a house on Gloucester Crescent in


Camden Town and shortly after moving in an old lady called Miss Margaret


Shepherd drove her van onto his drive and she stayed for 15 years.


He could not get rid of her. The idea would be off-street parking.


Merry Christmas! Shut the door, I'm a busy woman. It would have been so


difficult to get rid of her, she probably had squatters rights after


a year or so. The flush is on the blink. Where is it? ! She had an


iron will, she never at any point said thank you. I did not want to be


banged but at the same time, if she had thank you it would have been a


chink in her arm and she never exposed that. I brought three in


case she fancied a change. Where am I supposed to put three? Green is


not my colour. It throws up questions about what we would do


faced with Miss' Shepherd. I don't know what people would do. I don't


think I would let it happen, really. A carer will often feel... I am not


a carer. I hate caring and I hate the thought and the word. I do not


care and I do not care for her, there is no caring. Shooting the


film in his house, in his study, looking over his drive where a


replica sat, knowing that the van was occupied by Maggie. It occurred


to me that if Maggie Smith decided to stay for 15 years no one would


dare move her. Would you like to push me up the street? Not


particularly. Certainly very physically challenging for Maggie,


getting in and out of the van. She was incredibly up for doing this. It


was an extraordinary experience, being around her and being with her


as she created this thing. This will do. Turn me around. I think it's


remarkable what she does in the film, the insights into view that


lonely, cantankerous, nightmarish, magnificent woman was. Would you


like a cup of coffee? No, I don't want to put you to all of that


trouble, I will just have half a cup. I will say this out loud before


you say anything, I loved this film. When I came out of the screening I


asked if I could go to another and they thought I was weird. Go ahead.


I had certain expectations that I will blame on down to an abbey.


Smith's character is in sconce tin the public imagination. -- Downton


Abbey. She takes a waspish comedy turn the next minute. Having not


seen the original play on which this is based I was expecting more of the


same. The film strikes a difficult balance and you can tell from the


clips that it is middle ground and quite safe and there is nothing to


frighten the horses but what it's able to do is within that very tight


framework it is able to say important things about the way in


which we respond to family members because it's a parable about how


difficult it is to love your family members directly. Something that is


not mentioned in the clips is that it's about Alan Bennett's


relationship with his mother after he hits the big-time in London. A


lot of his concerns his mother our misdirected towards this strange


woman and it's about the difficulty of the directness of that love of a


parent. He does a compare and contrast in the film. I totally love


agree that asks big questions -- I totally agree that. I was struck by


the fact that when you said Alan Bennett and Maggie Smith people


would have already been sold. It's a done deal. You have made the right


choice. We could say that the film gives you manger and people would


still be there! It's Alan Bennett, funny, perceptive, spiky. I like it


when they have this gentle to hours of Alan the human being moving in to


the flat in Camden and also the writer and there is interplay. There


is a nice line in the film where the writer says, he looks out the window


and says, I'm never going to write about her, this is just something


that's happening. I can't help but thinking that he meant that at the


time and I don't know why he changed his mind. This thing happened. All I


want to say is that that is right but that is the point at the end,


just when you think you are writing about something else in life


happens. She was there for 15 years. He had to write about her. The point


of the device is that you can have one of them being an active


participant in the story and the other one standing apart and


commentating. A large part of what the film is about is our need to


impose a fiction like order on the real world. It is fantastic. He


plays two parts, not just one impersonation of Alan Bennett twice


over, the writer and the living Alan are different. There is a great


chemistry between them which is just one man bouncing off himself. I feel


as though I'm being pushed into a corner of not liking it because I'm


not sold as you and I did not get the sense that Alan Bennett knew


why, apart from having this extraordinary woman in his driveway


for 15 years, I don't know why he was writing it. It is beautifully


acted. Everybody already knows Maggie Smith already. It's an


extraordinary character. Miss Marple needs Golem. I like Camden as well.


That is the unsung hero. Kate Winslet was the secret weapon of


Steve Jobs and Camden Town is the secret weapon here. When Alan


Bennett moves in in 1970, it is the Camden of Withnail and I. Then you


follow it through the 70s and into the 80s and the yuppie Camden and


the end of misses Vacha's power. -- end of Margaret Thatcher's power.


They end with him talking about property prices. We have to move on.


It's good. It is better than God, it's brilliant. Tangerine was born


out of a collaboration between film-makers and the transgender


world of West Hollywood. Filmed on an iPhone. This is no ordinary love


story. Contains strong language. The oestrogenic has been kicking in. The


only thing that has not broken down at these arms. Everything else looks


good. A secret about me and Chester.


What? She get out of jail and fines that


her man has been cheating with another girl. Instead of checking


her man, she goes to find the goal. She is back and she is going hard.


We did not want to influence any prescription or plot on this


neighbourhood until we did our research, so we had to find


collaborators, and she was our passport to that world.


Come here. I was at the LG BT centre in Santa


Monica, a very attractive director, he was talking to me and he asked me


about the area, he wanted to know more information. I started to give


him a key stories and some of the background. He fell in love with my


personality and the way I looked. He owes me money.


He said he wanted it to be real. I knew it would be real because I am


going to make sure. She said, I will make this film with


you, I trust you, but you have to promise me that it will show the


brutal reality of what these women go through on the street, do not


hold back, and at the same time, make it hilarious.


She is from the Hill. I was like, that will be a balancing


act! I will go with you on the one


condition, promise me there will be no drama.


We shot the entire film on the iPhone, it started from a budgetary


constraint, but it became an aesthetic that we were developing


and finding. It kept us under the radar, people think we are maybe


just doing some little product. What do you see in him?


Some people come up to me crying, for two trans-stars to be on the


screen, where did you see that? It is all about our hostel, and that


is it. Danny? It is a Christmas movie, it


is also out on Christmas eve, that is when you get out of jail and hunt


down your cheating ex-boyfriend, who is also jaw pain. People at home


will be freaking out that this is a seasonal movie, but it is wonderful,


really traditional in its way. It is wild and filthy but also warm and


fuzzy. It is filled with humanity and it pops off the screen. I like


it such a lot, not as much as Robbie Collin! One of the main things I


love is it is being sold as the iPhone movie, but it is not found


footage or grubby, fingerprints, the way in which it has been made, it


feels like it is totally liberating, the camera is so small,


it was on a steady cambric, there was a bit of kit, but it feels like


you are on ground level with traffic thundering past of this distinctive


area. I apologise in advance, it should come with a cravat on it. It


reminded me of the early films of Gothard, because of the energy


levels, people running around all over the place, and it is set in


this particular social million in the city, and there is a subplot


involving a taxi driver picking people up who has a liking for what


the lead characters have to offer, it is taking place in a coherent


part of the city. It is a great LA movie. You can overstate the iPhone


thing. I like how you can have a double bill with Steve Jobs, but you


forget the iPhone is there. It is good at picking out LA in the


sunshine. Everything is too bright and bleached out. It does that job


Harry well, but the story and characters are so big and vivid, you


forget about the technology. You love them, and the characters are


fantastic. How do we find these people? How do we invite them in?


This is the importance of it being a Christmas movie, Christmas is about


providing for family, reconciling with friends, and if you live so far


outside of the turkey and sprouts demographic, what does that mean?


There is a joke that LA does not look like it is Christmas. The film


is bright orange throughout. The mother-in-law of the taxi driver


looks around disparagingly and says LA is a beautifully wrapped life. A


lesser film would have left it there, but this film is about


appearances, and somebody says, I agree to disagree. They are


presenting as who they are very directly and honestly. The honesty


would have been drowned out by a bigger budget and buy a more


elaborate production. I don't want to say that somebody did it like


that, but the editing and music are brilliant, it feels urgent. You can


get hung up on the technology, it reminds me of 28 days later, one of


the first digital video films. You forget that is happening, it has its


own luck. I saw this earlier in the week, I will go again, I will slip


into something fierce and sexy. I am excited! Next, The Hallow, never has


moving away from the city been such a mistake.


You missing London? God, no. There are enough trees to keep that the


busy until you are grown-up! Is he in the forest again? He is


trespassing. It is his job. It is dangerous for him and the little


one. He is trying to scare us, I cannot not do my job. You are making


people nervous. They believe the forest you are trampling on belongs


to The Hallow. Fairies, banshees, baby Steelers. Are you a believer?


This is not London, things go bump in the night. It is just baby


dreams. Adam? Wait! If you trespass upon them, they will trespass upon


you. Come on. You should have listened. You should never have come


here. You should never have come here!


That is what I said after I left the cinema. It is structurally not


working, you have the lovely scene setting, we saw Michael Smiley as


the policeman, you think, this is interesting, but then the film


switches to code red and the monsters come out and descend on the


house, things burst into flames, people are running around with


swords. I thought, why is this not scary? It does not have the central


act where they build atmosphere and ramp up potential. You want Michael


Smiley to come back and be sceptical again. Because of the missing


middle, it did not connect. A good horror has to be resourceful, it has


to do a lot with not much, and it does do that, it builds up an


unsettling atmosphere with nothing more than Moss, which is an


impressive thing to do. There is a mischief as to how it uses the


location, a snippet of coastal island, it looks painfully


beautiful, but it goes slightly downhill as an advert for tourism.


There is one monster, UCD face in the mirror at night, sinister,


completely horrible,... I do not want to give too much away, but


there was two stories going on. There is a moment where it loses its


head slightly, a lot of horror influences get thrown at the screen


in a panic to remind everybody, it is a bit like these films. I quite


like that, it is such a shameless barrage, ... I was scared. We have


to end with your film of the week. Tangerine, the best film that Steve


jobs made possible. Tangerine, Steve Jobs. And a film that I have


reviewed on the website, and using about it. The Lady In The Van and


Steve Jobs. Tangerine, I would not be anything else! Playing is out is


moral and Hardy's classic. You can see more of their films in selected


UK films -- cinemas throughout November. Good night.


# In the blue ridge mountains of Virginia


# Where she carved her name and I carved mine


# Like the pine, I am lonesome for you


# In the blue ridge mountains of Virginia


# In the blue ridge mountains of Virginia


# In the pale moonshine, our hearts entwined


# Where she carved her name and I carved mine


# Like the pine, I am lonesome for you


# In the blue ridge mountains of Virginia


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