:00:28. > :00:32.Hello there, this is Film 2017 and I'm Nihal Arthanayake.
:00:33. > :00:35.I'm here because of diversity, perhaps you've noticed that so far
:00:36. > :00:37.this year not a single presenter of this show was born
:00:38. > :00:45.LAUGHTER I was!
:00:46. > :00:47.So now that that box is ticked, let's carry on.
:00:48. > :00:49.No matter which county you hail from, though,
:00:50. > :00:52.Tonight we're talking the wonder of Denzel,
:00:53. > :00:57.Tweet us - details on the screen now.
:00:58. > :01:03.Right, coming up on the show tonight...
:01:04. > :01:12.One life in three acts. Who is you? Mahershala Ali and Naomie Harris
:01:13. > :01:20.shine in coming-of-age drama Moonlight.
:01:21. > :01:28.Ladies who launch. Taraji Henson, Octavia Spencer and are now Mornay
:01:29. > :01:33.star as three figures. There should be McDonald's everywhere,
:01:34. > :01:38.franchisor. Michael Keaton stands in the cap next founder.
:01:39. > :01:48.Plus Denzel Washington puts the Pitts in Pittsburgh while directing
:01:49. > :01:54.himself in Fences. Joining me on the Arsenal coloured sofa which is
:01:55. > :01:58.putting me in a rash, trying to separate the Leicester of last
:01:59. > :02:02.season from this season, our critics Rihanna and Danny.
:02:03. > :02:09.2017 is only two months deep, but director
:02:10. > :02:11.Barry Jenkins' intimate drama, Moonlight is already being hailed
:02:12. > :02:16.Nominated for eight Oscars, yeah, I said it - eight Oscars -
:02:17. > :02:19.it's the story of a Miami boy's sexual awakening, told at three very
:02:20. > :02:42.I found him yesterday. Moonlight is the story of this character Chiron.
:02:43. > :02:45.It's a coming-of-age story but told in three chapters. Basically, we're
:02:46. > :02:48.kind of just watching this guy figure out who he is.
:02:49. > :02:57.At some point you have to decide for yourself. You can't let nobody make
:02:58. > :03:01.that decision for you. He's coming to terms with this
:03:02. > :03:06.aspect of his identity, but as he is he's realising very quickly the
:03:07. > :03:11.world does not accept this aspect of his identity, so he starts to crawl
:03:12. > :03:17.within himself. What's wrong? Nothing.
:03:18. > :03:22.It's a beautiful story. It's a story about the others, the ones who are
:03:23. > :03:27.outside of the tribe, who are not totally embraced for who they are
:03:28. > :03:32.and made to feel ashamed. Why you didn't, like you were supposed to?
:03:33. > :03:35.All these kind of stereotypes and identity issues are being explored
:03:36. > :03:39.and broken down, and the beautiful thing about this film in particular,
:03:40. > :03:43.I think, is it just says ultimately where all the same, which all
:03:44. > :03:46.struggling with the same issues. We have a universal desire for love and
:03:47. > :03:50.connection and for that we have to be vulnerable, to let someone else
:03:51. > :03:54.in. You're my only and I'm your own way.
:03:55. > :04:02.This is a story about love in its purest sense.
:04:03. > :04:08.What you're looking at me like that for?
:04:09. > :04:11.I think the film is therapeutic in some eyes. Sometimes you don't know
:04:12. > :04:16.that you need to release something, that you need to connect to someone
:04:17. > :04:21.else's journey, so you can be informed and educated on what other
:04:22. > :04:29.people process and deal with. And it gives you energy and life.
:04:30. > :04:34.You can always see yourself in these characters. I've been one of the
:04:35. > :04:39.others, I've been one of those on the outside, not totally embraced,
:04:40. > :04:40.as so many other people have. So I think in that way, the film is
:04:41. > :04:54.universal. So, everybody I spoke to has been
:04:55. > :05:01.utterly enchanted by this film. Does it warrant all the hype and the
:05:02. > :05:04.eight Oscar nominations, Danny? It absolutely does. Masterpieces is a
:05:05. > :05:08.word that's used altogether too much but sometimes it's the only word
:05:09. > :05:14.that fits. Moonlight is a masterpiece. It's a small film,
:05:15. > :05:18.because $1.5 million, and that is some people's dog grooming money!
:05:19. > :05:21.It's a simple film and lots of ways because lets a few scenes about
:05:22. > :05:25.three different phases in the life of a boy who then becomes a
:05:26. > :05:30.teenager, who then becomes a man but it's so alive and it says so much
:05:31. > :05:33.and it says it cinematically. Movies are always trying to reinvent
:05:34. > :05:38.themselves. James Cameron is in Dracula's Castle working out how to
:05:39. > :05:42.engage people technologically. Moonlight does it with a camera and
:05:43. > :05:46.a face. And a small budget as you said. Rihanna, can I get you to
:05:47. > :05:50.disagree with Danny about Moonlight? I would love to disagree with Danny
:05:51. > :05:55.because I think maybe he would implode! But I have to agree. This
:05:56. > :06:01.is a stunning piece of cinema. This is a film that's got, I think, an
:06:02. > :06:05.all-black cast. It's about a boy that's gay, but it never feels like
:06:06. > :06:15.an issues movie. Does it not? Does it really not? In the current
:06:16. > :06:18.political climate, a year on from Oscars Too White, you see this
:06:19. > :06:23.African-American ensemble cast. This is in production before. I think
:06:24. > :06:27.this was originally a play that never got produced. I think we can
:06:28. > :06:30.say it's the most original film in our line-up tonight of them and it
:06:31. > :06:34.does feel like that, and it doesn't feel like you can really define it
:06:35. > :06:38.or put in a box and I think that's really cool. What do you think of
:06:39. > :06:41.the three stages of his life and the three actors that playback? The lack
:06:42. > :06:45.of physical resemblance? The movie is filled with these big,
:06:46. > :06:49.fearless decisions that is the biggest and most famous of all.
:06:50. > :06:52.Three actors, all quite inexperienced. There's not much
:06:53. > :06:56.physical resemblance, but I think that's beautiful, it's a classic
:06:57. > :07:00.example of show, don't tell. Instead of saying we go through changes in
:07:01. > :07:03.life, you have a visual illustration, lots of us, we make
:07:04. > :07:06.all kinds of changes to ourselves and the worlds we put ourselves in
:07:07. > :07:10.but we're still made of the same stuff. Barry Jenkins has said this
:07:11. > :07:13.about that casting choice, that it was all about the eyes, the eyes of
:07:14. > :07:19.the windows to the soul and he sees that. There is a kind of coldness in
:07:20. > :07:23.those eyes, because the vulnerability and the coldness, and
:07:24. > :07:26.it's really, really fascinating. The camera is always moving in Moonlight
:07:27. > :07:30.but it always ends up on someone's face. It's like that line in Sunset
:07:31. > :07:34.Boulevard, in the days of silent movies you had faces, and you have
:07:35. > :07:38.in Moonlight. That's why people are making such a connection with this
:07:39. > :07:41.movie. The thing to say about Moonlight, it's not critics movie.
:07:42. > :07:45.We're talking about it very excitedly but I've been previews of
:07:46. > :07:48.this film the last couple weeks, and people are sitting there are very
:07:49. > :07:52.sincerely, spontaneously in floods of tears. It does two things at
:07:53. > :07:59.once, delicate and power. White Rihanna, what about that opening
:08:00. > :08:06.scene? Where he is Little before he becomes Chiron and then Black. Did
:08:07. > :08:11.he feel real to you? Did it feel genuine, did you think a drug
:08:12. > :08:15.dealer, someone who is a crack cocaine dealer would have that and
:08:16. > :08:20.they question up absolutely. I think the reason is because of Mahershala
:08:21. > :08:24.Ali's performance. But he's not very in it very much. On paper you could
:08:25. > :08:26.say this is a boy growing up in an all-black neighbourhood, his mum is
:08:27. > :08:31.a drug addict and the only father figure he has is a drug dealer. Yet,
:08:32. > :08:35.there is something so much more real and human about this than so many
:08:36. > :08:39.other films. This is an social realism or gritty, this is so
:08:40. > :08:44.beautiful to look at. The cinematography. The sound, the music
:08:45. > :08:47.is extraordinary. That use of the chamber orchestra, but then going to
:08:48. > :08:52.the people who wrote the score and saying, can you make something that
:08:53. > :08:55.is very, very different? It's almost as if someone producing track beat
:08:56. > :08:59.that using a chamber orchestra and reinventing it that way. It's not
:09:00. > :09:01.what you expect from this kind of film. OK, we need to move on.
:09:02. > :09:04.Next is Hidden Figures, the real life story of three
:09:05. > :09:06.African American female mathematicians who helped Nasa shoot
:09:07. > :09:10.Taraji P Henson, Janelle Monae and Oscar nominee Octavia Spencer
:09:11. > :09:12.play the human computers dealing with prejudice.
:09:13. > :09:19.Bringing a whole different meaning to the term Space race.
:09:20. > :09:29.You have a identification only customer Nasser. I had no idea...
:09:30. > :09:37.Quite a few women working at the space programme. She can handle any
:09:38. > :09:43.number you throw at her. This was an empty glass like. I'm sorry, I'm not
:09:44. > :09:48.feed... She should be an engineer. I'm a black woman, I'm not going to
:09:49. > :09:51.entertain the impossible. We need a spaceship, we are living the
:09:52. > :09:59.impossible. The IBM data processing system. Hit it, girl. Nasa doesn't
:10:00. > :10:04.commission females that the space programme to stop every time we have
:10:05. > :10:07.a chance to get ahead... There's no protocol for women attending. You
:10:08. > :10:14.should all be thankful for your jobs at all. I don't even know if I can
:10:15. > :10:23.keep up. You're better with the numbers than anyone in that cabinet.
:10:24. > :10:26.You've been gone for 300 hours. You're not where I needed to be,
:10:27. > :10:31.where'd you every day? The coloured bathroom is a mile away. It's good
:10:32. > :10:36.to know Nasser hasn't given up on good old-fashioned brainpower.
:10:37. > :10:41.Friendship seven has experienced some sort of malfunction. It's
:10:42. > :10:45.getting a little hot in here. We are in the fight of our lives, people.
:10:46. > :10:51.Hidden Figures, made for some $25 million. Took that in its opening
:10:52. > :10:55.weekend at US box office and has gone on to take more money than La
:10:56. > :11:00.La Land so far. Why do you think a film about three African-American
:11:01. > :11:04.mathematicians, female African-American mathematicians, has
:11:05. > :11:07.done so well and connected with such a big audience? I think that's
:11:08. > :11:11.precisely why it's done so well for all the reasons you said. Didn't you
:11:12. > :11:15.all know about this? Without anyone didn't know the story? It's talking
:11:16. > :11:19.about these incredibly smart women and bringing them to the fore. They
:11:20. > :11:23.become role models for young people growing up, not just in America and
:11:24. > :11:25.not just black little girls who I'd seen dressing up as their heroines.
:11:26. > :11:46.These women, although that is so lovely and sweet
:11:47. > :11:49.to see... This is telling a story that we should have heard about a
:11:50. > :11:51.long, long time ago. I think it's really important this is being told,
:11:52. > :11:54.but it's being told in a very Hollywood kind of style. That's
:11:55. > :11:56.important. The form and structure is very Hollywood and I think that is
:11:57. > :11:58.possibly why it's being accessible for so that's a great thing. What
:11:59. > :12:01.about the schmaltz stopped writing that's the great thing. What about
:12:02. > :12:04.the best to mug you mention that term Hollywood, I was watching it,
:12:05. > :12:06.of feel Theodore Melfi said in those blank spaces, where you have do kind
:12:07. > :12:10.of Hollywood. But there are parts of this very schmaltzy. Identified so
:12:11. > :12:13.that, I think it's a deft, in the narrative, he didn't want to make it
:12:14. > :12:15.to Hollywood. But there are parts of this very schmaltzy. Identified by
:12:16. > :12:18.that, I think it's a deft, clever, crowd movie. I think you could have
:12:19. > :12:20.a documentary version and I would happily watch that but what you
:12:21. > :12:22.won't have is the joy of the performances. Actually, what is
:12:23. > :12:26.admirable about the movie is the fact this isn't just the story of
:12:27. > :12:29.one black woman who has to represent all black movie. I think you could
:12:30. > :12:32.have a documentary version and I would happily watch that but what
:12:33. > :12:34.you won't have is the joy of the performances. Actually, what's
:12:35. > :12:36.admirable about the movie is that this isn't just the story of one
:12:37. > :12:39.black woman who has to represent all. What is a joy on the practice
:12:40. > :12:42.of that is seeing Taraji Henson do you have a crush on do you have a
:12:43. > :12:45.crush on her? A the dynamic between the three of them, with Octavia
:12:46. > :12:49.Spencer and the dynamic between the three of them, with Octavia Spencer
:12:50. > :12:53.and. I think an element of. I'm fine. I'm fine with incredible
:12:54. > :13:00.business. Because it has done incredible business. It is
:13:01. > :13:03.ultimately a universal story. It's a story about people going up against
:13:04. > :13:07.the odds and quite outrageous pods. Just having to walk a mile, for
:13:08. > :13:14.instance, to go to the coloured bathroom. Couldn't even go and, it's
:13:15. > :13:16.clearly resonated with people because it is ultimately a universal
:13:17. > :13:19.story. It's a story about people going up against the odds and quite
:13:20. > :13:21.outrageous pods. Just having to walk a mile, for instance, to go to the
:13:22. > :13:29.coloured bathroom. Couldn't even go and Kevin Nasa wheel pit the same
:13:30. > :13:32.colour. You don't lose any of the heft and urgency of the human rights
:13:33. > :13:34.issue. You have it colliding with this interesting moment in history,
:13:35. > :13:36.the space race and America being terrified of Russia. Simultaneously
:13:37. > :13:39.with advancements in the civil rights movement. You say that but a
:13:40. > :13:45.lot of this film is about the was encroaching on the space of these
:13:46. > :13:49.incredible black actresses. That was times? Yes yes and yes. Yes and yes,
:13:50. > :13:52.they couldn't even go in the toilet. We keep talking about this toilet
:13:53. > :13:55.scene because everyone must've seen that in the trailer. The whole point
:13:56. > :14:02.was she couldn't go to the toilet. In real life she stood up to them
:14:03. > :14:04.and said yes, I'm going to this white, in the form of someone like
:14:05. > :14:07.Kevin Costner. That was frustrating a little bit because it felt like he
:14:08. > :14:09.was encroaching on the space of these incredible black actresses.
:14:10. > :14:12.That was the reality of the times? Yes and yes. Yes and yes, they
:14:13. > :14:14.couldn't even go in the toilet. We keep talking about this toilet scene
:14:15. > :14:17.because everyone must have seen that in the trailer. The whole point was
:14:18. > :14:20.she couldn't go to the toilet. In real life she stood up to them and
:14:21. > :14:23.said yes, I'm going to this white toilet. I think that so much more
:14:24. > :14:25.exciting. When the is wealthy enough with this fantastic experience, I
:14:26. > :14:28.think they should have used that. It's to be in the middle. I think
:14:29. > :14:31.there is some charm and spark to this thing, so much wit point. I'm
:14:32. > :14:32.going to be in the middle. I think there is some charm and spark to
:14:33. > :14:33.this thing, so much Next up is Fences, based
:14:34. > :14:35.on August Wilson's Pulitzer It's directed by and stars
:14:36. > :14:38.Denzel Washington. He's Troy, a garbage
:14:39. > :14:40.man in 50s Pittsburgh, coming to terms with a life
:14:41. > :14:42.unfulfilled, and how the ramifications of that
:14:43. > :14:44.frustration poisons nearly Viola Davis co-stars
:14:45. > :14:50.as his long suffering wife. I wish Taraji Henson has got the
:14:51. > :14:54.Oscar nomination. We need to move I go out of here every morning and I
:14:55. > :15:00.butt, a man is supposed to Fences is about a story in care of his family.
:15:01. > :15:06.Fences is about a Pittsburgh, and at the centre is Troy, a basketball
:15:07. > :15:11.player, but he missed out basketball player, but he missed out because
:15:12. > :15:15.they didn't want black about how he basically affect his family, his
:15:16. > :15:16.wife it's about how he basically affect his family, his wife, his
:15:17. > :15:27.son. Can I ask you a question? It's about the relationships, father
:15:28. > :16:38.and sons, a tight-knit family that falls apart. As long as you're in
:16:39. > :16:48.I've been right here with you. I've got a life too. 18 years of my life
:16:49. > :16:52.to stand in the same spot as you. Don't you think I've wanted other
:16:53. > :17:03.things, don't you think I had dreams and hopes? What about my life? Wow.
:17:04. > :17:12.Denzel and Viola and the top of their game. You have a son and I
:17:13. > :17:16.have a son. Tell me what you thought of Fences. Before that, I want to
:17:17. > :17:20.talk about Denzel. People have been talking about their favourite films
:17:21. > :17:27.of his. Luke says that his favourite is Glory, saying he deserved his
:17:28. > :17:38.Academy Awards. David says, anything where he kicks butt. He says that
:17:39. > :17:42.Flight is amazing. What did you think of Fences? Did it transferred
:17:43. > :17:48.to the screen from the stage? That's the thing, there is no one I would
:17:49. > :17:55.rather see performing plan Denzel Washington and Viola Davis. Every
:17:56. > :18:01.information is exactly right, every pause is the right pause. It feels
:18:02. > :18:04.to me like Denzel has taken the camera and film the play. I think a
:18:05. > :18:08.film and they play should be different things. Such power and
:18:09. > :18:14.grace, it is like watching a trapeze artist. I want to see the film.
:18:15. > :18:18.People will say that it is great performances and writing and that
:18:19. > :18:23.should be enough but when you go to the RSC, they don't show a movie and
:18:24. > :18:27.say it is a great performance. Why shouldn't you be able to take that
:18:28. > :18:34.amazing writing, comparing it to the other films we've seen is, the power
:18:35. > :18:38.of language, the force and beauty, like scores of paratroopers coming
:18:39. > :18:43.out of a plane at once, it was amazing. Why should that not be an
:18:44. > :18:49.ace cinema screen? Theatre is a much smaller audience. Bringing the power
:18:50. > :18:55.of words into people's lives. You need to break it out more. You turn
:18:56. > :18:59.it into cinema. Moonlight, there are lines which are every bit as
:19:00. > :19:04.graceful and powerful as there are in Fences and Moonlight has the
:19:05. > :19:08.image. Not with the Cirque du Soleil, the words you see in Fences.
:19:09. > :19:14.It is an extraordinary performance. What do you think? When you get over
:19:15. > :19:22.the play thing, you are watching a play it's all about the... I know,
:19:23. > :19:27.my God, it is about the fragile male ego and that is all Denzel
:19:28. > :19:31.Washington. That can be quite preachy in anybody is's hands but
:19:32. > :19:35.seeing him at the beginning, you want to be in his company, he seems
:19:36. > :19:41.like so much fun. It is as much about her. She brings out the light
:19:42. > :19:45.in him and when he starts to back away you see the darkness creeping
:19:46. > :19:49.into him and I think that's fascinating, seeing them playing off
:19:50. > :19:54.each other. It is so multilayered, more so than Moonlight in what it
:19:55. > :20:02.says. Not going to get into that! We can do that later! Round the back of
:20:03. > :20:07.the sofa. Denzel's performance is extraordinary, he has this
:20:08. > :20:10.physicality. The thing with Washington, such a movie star and it
:20:11. > :20:14.is rare for movie stars to disappear into roles because even when they
:20:15. > :20:22.are great actors you are aware that they are movie stars. Violet Davis
:20:23. > :20:29.-- Viola Davis, there are moments when it is almost like it is a real
:20:30. > :20:35.person, you forget she is an actress. The writing is fantastic
:20:36. > :20:39.but it is Theatre. Moonlight is so self-consciously cinema, this is
:20:40. > :20:44.just a great human story. So are surely has to have room to project
:20:45. > :20:49.great human stories. Denzel made the point, he did not want the
:20:50. > :20:54.directorial flourishes. I think that's right, he concentrated on the
:20:55. > :20:57.right things because you walk away from the cinema thinking, I want to
:20:58. > :21:03.see more of those two, they deserve Oscars for that. In that case, don't
:21:04. > :21:08.open it up at all, genuinely film the play and have it live on
:21:09. > :21:11.Broadway and have cinema screenings and then you have the spontaneity,
:21:12. > :21:17.the actors being in front of you, even in the cinema. You don't get
:21:18. > :21:19.the sense of 1951 Pittsburgh in quite the same way. You are in
:21:20. > :21:21.someone's backyard. Michael Keaton stars as Ray Kroc,
:21:22. > :21:28.the man who supersized a small Californian family-run restaurant
:21:29. > :21:30.into the burger building, shake sucking, happy meal touting
:21:31. > :21:44.empire that is McDonalds today. McDonald. Care for a tour? We wanted
:21:45. > :21:48.something different and that is where my brother comes up with one
:21:49. > :21:56.of his brilliant ideas. The order is ready in 30 seconds. There was no
:21:57. > :22:01.McDonald's before Ray Brock -- Ray Kroc turned it into McDonald's as we
:22:02. > :22:10.know it. A new American church, and it isn't just open on Sundays, boys.
:22:11. > :22:15.We don't make McDonald's look like a bad thing, if anything it looks like
:22:16. > :22:18.an amazing thing. Revolutionary? That's exactly what it is. Nothing
:22:19. > :22:22.to do with whether the hamburgers are any good, it is to do with this
:22:23. > :22:27.thing that occurred. There should be a McDonald's everywhere, franchise
:22:28. > :22:37.the thing. Franchise, franchise, franchise. Ray, no! I had no
:22:38. > :22:44.interest in trying to make him likeable. I didn't try to go out of
:22:45. > :22:48.my way to make him an likeable, I just read the script and help to
:22:49. > :22:57.tell the story. Did you mortgage our home? He works hard, he saw what
:22:58. > :23:02.someone could be and he put in the time and the sweat to be successful
:23:03. > :23:07.and that I really admire. You want to be owning the land upon which the
:23:08. > :23:13.burger is cooked. What I don't admire is how he then took it and
:23:14. > :23:17.almost sadistically empowered himself not just for the money but
:23:18. > :23:24.for the power is off. There is a wolf in the hen house and we let him
:23:25. > :23:30.in. -- empower himself. Contracts are made to be broken. So, why
:23:31. > :23:40.should any of these lovely people watching Film 2017 go and see a film
:23:41. > :23:45.about McDonald's? Because it's a corporation and, you know, people
:23:46. > :23:48.didn't do that for the Social Network, although they did and
:23:49. > :23:57.that's what's brilliant about this film, following a similar path, two
:23:58. > :24:05.brothers, Mac and Dick McDonald. And he is a Big Mac, that brother. He
:24:06. > :24:10.has a similar thing of somebody coming and stealing the idea. Pretty
:24:11. > :24:15.much word for word and Michael Keaton is the perfect guy to do
:24:16. > :24:20.that. It is equally funny, very witty, fast paced editing and it's
:24:21. > :24:26.entertaining. And it's nasty. You look at him and you think, you are
:24:27. > :24:32.despicable but there is something I admire about what you managed to do.
:24:33. > :24:36.What does your attitude towards Ray Kroc say about your politics?
:24:37. > :24:46.Interesting question, are you mentioning the keyword? -- the T
:24:47. > :24:50.word? Is Ray Kroc a Donald Trump like character? Whether you see him
:24:51. > :24:54.as a narcissist, someone who is willing to do over those lovely
:24:55. > :25:00.wholesome American brothers, or whether he is an innovator, living
:25:01. > :25:05.the American dream, someone with the purpose and focus to make it big? He
:25:06. > :25:09.is a kind of American genius, a conman who can see the perfect way
:25:10. > :25:16.to tap into people's psychology. Michael Keaton is great casting, you
:25:17. > :25:22.think of Bird man, these splashy performances, it's always about
:25:23. > :25:28.Michael Keaton. Early in the movie you see him as this slightly sweaty,
:25:29. > :25:35.seedy salesman who isn't quite dead yet stop he lifts somebody else's
:25:36. > :25:42.idea and starts an empire and there is a fascinating American story. He
:25:43. > :25:49.can see what the brothers don't, how to transfer it into millions and
:25:50. > :25:53.millions of identical burgers. There is a point when Dick says, why don't
:25:54. > :25:57.you steal my idea, and he said he could of done that but it is about
:25:58. > :26:03.the name, McDonald's, it can mean anything. You see the real-life
:26:04. > :26:08.footage of him saying it towards the end and it is chilling. Startling
:26:09. > :26:15.that he got away with this. Similar to Hidden Figures, amazing that we
:26:16. > :26:22.don't know this story. Do we want to know? No one is particularly
:26:23. > :26:26.likeable? It's interesting because the brothers are very likeable,
:26:27. > :26:32.that's a bit dishonest. A bit boring. But they are wholesome,
:26:33. > :26:36.those wholesome milkshakes. They are the guys who come up with the
:26:37. > :26:41.automation and when they are explaining the business model, the
:26:42. > :26:48.first thing that comes up, they sack the waitresses and you see them
:26:49. > :26:54.vanishing. UCB wholesome diet sacking them. If you think, if you
:26:55. > :26:59.are Mike Ashley you are seeing him thinking, they are geniuses. We are
:27:00. > :27:05.running out of time and I need your film of the week. No prizes for
:27:06. > :27:11.guessing. It must be Moonlight, everyone's favourite. Hidden
:27:12. > :27:17.Figures, but Moonlight is a masterpiece. Big enough to see from
:27:18. > :27:22.space. May your eyes ever be shrouded in sweating because Fences.
:27:23. > :27:35.It isn't bold. I'm going to ask if I can be in a
:27:36. > :27:38.Colonel Sanders biopic. Next week, Edith Bowman.
:27:39. > :27:41.That's it from me, but I'll leave you with an early look at the much
:27:42. > :27:46.Scarlett Johansson stars as a cyborg cop in this live action remake
:27:47. > :28:03.I saw someone down there. He wasn't human. He's a known terrorist and
:28:04. > :28:14.killed again. He didn't just kill them, he hacked into their brains. I
:28:15. > :28:22.will find him. And I will kill him. You never talked about your past. I
:28:23. > :28:28.don't remember much, just fragments. There was an attack, you were dying
:28:29. > :28:36.and we save you. And now, you save others. Everything they told you was
:28:37. > :28:48.a lie. You had a family. What are you? What a beauty you are. They
:28:49. > :29:00.didn't save your life. They stole it. How many were there before me?
:29:01. > :29:07.She was supposed to have a clean brain. I order you to terminate.
:29:08. > :29:12.They created me but they cannot Are you ready for the next
:29:13. > :29:17.ten years? I'm pregnant. You won't notice I'm gone.
:29:18. > :29:19.We've already started interviewing. People are always looking
:29:20. > :29:23.for the next hot young thing. I'm ready.
:29:24. > :29:26.It's only for a couple of months. She thinks you'll be away
:29:27. > :29:28.a lot longer than that. I want you to stop cuttingly me out
:29:29. > :29:34.of conversations with my client. She's moving in on everyone.
:29:35. > :29:37.I'm trying to look out for you.