Episode 9 Film 2015


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Episode 9

Claudia Winkleman and Danny Leigh look at Apple biopic Steve Jobs, The Lady In the Van starring Maggie Smith, revenge comedy Tangerine and Irish horror The Hallow.


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

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

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

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

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

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

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

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

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Danny Boyle. Michael Fassbender stars as the digital Messiah who

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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am begging you to manage expectations out there. This reminds

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

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

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

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incredibly exciting. You are issuing contradictory instructions, you are

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

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diabolical. Danny is without doubt the most positive and energetic

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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this is a collision between Danny Boyle, the effervescent visual

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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does it very carefully, making sure supporting characters share the

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spotlight. Catherine Waterston was great in inherent Vice earlier this

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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particularly. Certainly very physically challenging for Maggie,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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lot of his concerns his mother our misdirected towards this strange

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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participant in the story and the other one standing apart and

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

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

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

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

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

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

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

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why, apart from having this extraordinary woman in his driveway

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

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

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

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

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

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

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

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

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

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

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out of a collaboration between film-makers and the transgender

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

:17:06.:17:14.

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

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

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good. A secret about me and Chester.

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What? She get out of jail and fines that

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

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

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

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

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collaborators, and she was our passport to that world.

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

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

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

:18:23.:18:27.

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

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

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

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

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

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

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

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

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act! I will go with you on the one

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condition, promise me there will be no drama.

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

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constraint, but it became an aesthetic that we were developing

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

:19:29.:19:34.

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

:19:35.:19:43.

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

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

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

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

:20:03.:20:07.

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

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

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

:20:20.:20:23.

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

:20:24.:20:28.

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

:20:29.:20:34.

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

:20:35.:20:40.

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

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

:20:48.:20:54.

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

:20:55.:21:00.

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

:21:01.:21:07.

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

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

:21:14.:21:17.

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

:21:18.:21:20.

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

:21:21.:21:25.

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

:21:26.:21:36.

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

:21:37.:21:41.

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

:21:42.:21:46.

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

:21:47.:21:53.

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

:21:54.:21:57.

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

:21:58.:22:03.

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

:22:04.:22:07.

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

:22:08.:22:12.

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

:22:13.:22:19.

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

:22:20.:22:23.

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

:22:24.:22:28.

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

:22:29.:22:33.

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

:22:34.:22:44.

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

:22:45.:22:49.

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

:22:50.:22:52.

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

:22:53.:22:58.

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

:22:59.:23:04.

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

:23:05.:23:09.

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

:23:10.:23:14.

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

:23:15.:23:18.

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

:23:19.:23:24.

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

:23:25.:23:28.

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

:23:29.:23:34.

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

:23:35.:23:40.

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

:23:41.:23:46.

moving away from the city been such a mistake.

:23:47.:23:56.

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

:23:57.:24:01.

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

:24:02.:24:08.

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

:24:09.:24:13.

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

:24:14.:24:20.

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

:24:21.:24:24.

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

:24:25.:24:32.

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

:24:33.:24:50.

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

:24:51.:25:01.

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

:25:02.:25:11.

here. You should never have come here!

:25:12.:25:16.

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

:25:17.:25:22.

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

:25:23.:25:27.

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

:25:28.:25:30.

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

:25:31.:25:35.

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

:25:36.:25:41.

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

:25:42.:25:44.

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

:25:45.:25:49.

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

:25:50.:25:55.

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

:25:56.:26:00.

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

:26:01.:26:05.

unsettling atmosphere with nothing more than Moss, which is an

:26:06.:26:10.

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

:26:11.:26:14.

location, a snippet of coastal island, it looks painfully

:26:15.:26:20.

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

:26:21.:26:30.

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

:26:31.:26:36.

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

:26:37.:26:44.

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

:26:45.:26:49.

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

:26:50.:26:53.

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

:26:54.:27:00.

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

:27:01.:27:10.

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

:27:11.:27:13.

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

:27:14.:27:20.

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

:27:21.:27:28.

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

:27:29.:27:33.

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

:27:34.:27:39.

UK films -- cinemas throughout November. Good night.

:27:40.:27:51.

# In the blue ridge mountains of Virginia

:27:52.:27:58.

# Where she carved her name and I carved mine

:27:59.:28:07.

# Like the pine, I am lonesome for you

:28:08.:28:15.

# In the blue ridge mountains of Virginia

:28:16.:28:25.

# In the blue ridge mountains of Virginia

:28:26.:28:29.

# In the pale moonshine, our hearts entwined

:28:30.:28:42.

# Where she carved her name and I carved mine

:28:43.:28:44.

# Like the pine, I am lonesome for you

:28:45.:28:49.

# In the blue ridge mountains of Virginia

:28:50.:28:55.

Claudia Winkleman and Danny Leigh take a first bite of the Apple biopic Steve Jobs - and get down and dirty in Alan Bennett classic The Lady in the Van, starring Maggie Smith. Joining them on the critics' sofa is The Telegraph's Robbie Collin to add to the fun with revenge comedy Tangerine and Irish horror The Hallow.