:00:11. > :00:14.Tonight The Culture Show is from Colchester which claims to be
:00:14. > :00:19.Britain's oldest recorded town and thaus because it was the Roman who
:00:19. > :00:25.is built this gate that we are doing the recording. Now, all the
:00:25. > :00:31.way back in AD43 the emperr came here with an invasion force armed
:00:31. > :00:36.with the very latest shock and awe weapon, namely, elephants. We can't
:00:36. > :00:40.promise you militaryised in tonight's show, later on I will be
:00:40. > :00:47.looking at an extremely striking new building that's just gone up in
:00:47. > :00:50.the heart of town. Also on the show: Mark Kermode
:00:50. > :00:56.travels to Denmark to meet controversial director Lars von
:00:56. > :01:02.Trier. Alastair Sooke talks to Frank
:01:02. > :01:08.Stella. And violinist Nigel Kennedy takes
:01:08. > :01:12.us through his rules of play. We chat to Diana Athill. Did you meet
:01:12. > :01:17.somebody and jump into bed that same evening? I have done that in
:01:17. > :01:23.my time, yes. Tim Samuels does time at Wandsworth
:01:23. > :01:30.Prison. And Michael Smith unpicks post
:01:30. > :01:40.modernism at the V&A. First, my journey this week to the
:01:40. > :01:44.
:01:44. > :01:47.new Firstsite building as it was Colchester, Britain's old e e --
:01:47. > :01:50.oldest recorded town, there you have it in black and white but for
:01:50. > :01:54.all its multilayered fascinating past it's the future of Colchester
:01:54. > :01:57.that's taking shape. In the form of a a brand new �25 million Arts
:01:57. > :02:02.Centre. All I really know about it is that
:02:02. > :02:10.it's very large and very gold. I think I can just see a bit of it
:02:10. > :02:18.over there. Colchester today is sa bit rough
:02:18. > :02:27.and ready. Still a garrison town. And spiritual home of the boy racer.
:02:27. > :02:31.But once it was Camulodunum, expect of Roman Britain under Claudius.
:02:31. > :02:37.There are signs of a khraesical past everywhere, fragments of
:02:37. > :02:44.temples, columns on everything from banks to book shops.
:02:44. > :02:48.Looking down from high on the town hall, local heroine Boudica, the
:02:48. > :02:52.warrior Queen of the Britons who led a bloody rebellion against the
:02:52. > :02:57.Romans and now after a dramatic architectural competition and
:02:57. > :03:02.endless funding wrangles, the temple of the Arts they're already
:03:02. > :03:07.calling the golden banana is ready for action. There we go.
:03:07. > :03:12.So, first impressions? There's certainly nothing else like it in
:03:12. > :03:17.Colchester. It's got the wow factor. It's got the Gordon Bennett factor.
:03:17. > :03:23.To me, it's like a sort of giant spaceship that's suddenly got
:03:23. > :03:29.beamed down. I also think there is an element of homage to Frank
:03:29. > :03:32.Gearey, it looks like a chunk that mysteriously fell off the
:03:32. > :03:42.Guggenheim and ended up here sprayed in gold. It's impressive. I
:03:42. > :03:58.
:03:58. > :04:04.There's a story behind this unusual structure. This land is a scheduled
:04:04. > :04:09.ancient monument. Architect raffle has defiesed a worm, which unlike
:04:09. > :04:13.the elephants, has had to watch where it puts its feet. The most
:04:13. > :04:18.conspicious feature of the building is how loit it is and I don't mean
:04:18. > :04:23.light filled alone, I mean physically light. It carries itself
:04:23. > :04:25.lightly, almost gingerly on the site, virtually hovering over it.
:04:25. > :04:34.The foundations are extremely shallow and there's a reason for
:04:34. > :04:40.that. It's this. This is a Roman mosaic, probably the floor of a
:04:40. > :04:44.dining room, it's got these lovely creatures. It was excavated here.
:04:44. > :04:54.When it was unearthed they found the skeleton of a human being, a
:04:54. > :04:58.
:04:58. > :05:07.few fragments of pottery, and The annual Colchester oyster feast
:05:07. > :05:13.is still celebrated in the town hall. Somewhere beneath all that
:05:13. > :05:23.Jolity there is a link back to celebrations of the cult of the God
:05:23. > :05:27.
:05:27. > :05:32.of wine, fertility, drunkenness, The opening exhibition in the new
:05:32. > :05:38.building is called Camulodunum. And it makes use of Colchester's past
:05:38. > :05:48.to find a way into contemporary art. And the connections are sometimes
:05:48. > :05:52.
:05:52. > :05:58.ingenious. Vietnamese artist Vose exhibition, fragments of a copy of
:05:58. > :06:03.the statue of liberty, shown in pieces all over the world.
:06:03. > :06:10.The theme of the exhibition is past and present. How we interpret
:06:10. > :06:18.fragments of a sometimes imaginary archaeology. What survives when
:06:18. > :06:22.civilisations crumble. Where does junk end and art begin?
:06:22. > :06:28.And what makes a monument monumental?
:06:28. > :06:34.This piece is by a great American land artist Robert Smithson. It
:06:34. > :06:39.occurred to me he was working at it, at the height of the Vietnam war.
:06:39. > :06:46.And this was created from car doors in the year of the Falklands
:06:46. > :06:50.conflict. I think of it as a joke on the future. I imagine the artist
:06:50. > :06:55.wondering to himself what would the people of the earth 3,000 make of
:06:55. > :06:59.us if they could dig this up? I don't normally like themed
:06:59. > :07:06.exhibition but I like this one, I like its playfulness and the way
:07:06. > :07:09.it's unearthed a rich vein of art from the last 60, 70 years that
:07:09. > :07:18.seems to have worried away at the theme of archaeology, the
:07:18. > :07:25.relationship between the past and The exhibition also shows us how
:07:25. > :07:31.our attitudes to the past have changed. These are photographs of
:07:31. > :07:38.the Colchester pageant staged back in 1909. It had an audience of
:07:38. > :07:46.60,000, with nearly 3,000 participants. I like this, it's a
:07:46. > :07:51.real slice of Colchester's past. A more innocent and more more
:07:51. > :07:56.authoritarian past. There is a letter from the organisers: My dear
:07:56. > :08:02.pageanters, you covered yourself in glory and McIntoshes... As if a
:08:02. > :08:12.little rain never hurt anybody! It is signed by Louis N Parker.
:08:12. > :08:16.
:08:16. > :08:22.The N stood, appropriately enough, The unique Firstsite building isn't
:08:22. > :08:25.just an art gallery. I am glad to see it's reaching out to local
:08:26. > :08:32.children, making the experience of coming here fun as well as
:08:32. > :08:36.educational. It was once commented that architecture is the only
:08:36. > :08:41.medium you can't turn off. Well, the council are going to turn off
:08:41. > :08:45.the bus station next door. This whole view will be landscaped down
:08:45. > :08:50.towards the Roman wall. I must admit, I grew rather fond of its
:08:50. > :09:00.constant movement. Like an installation attended by men in
:09:00. > :09:02.
:09:02. > :09:07.high vis vests working away beyond You know what, I think they'll miss
:09:07. > :09:13.it when it's gone. And the exhibition continues here
:09:13. > :09:17.until the end of January. Now, it's on to Frank Stella, one of the most
:09:17. > :09:23.influential American artists of the last half century who once said
:09:23. > :09:27.that a painting is a flat surface with paint on it, nothing more. His
:09:27. > :09:31.new retrospective in London, his first in this country since 85,
:09:31. > :09:41.shows how far he's travelled since then. Alastair Sooke went to meet
:09:41. > :09:42.
:09:42. > :09:47.In the late 1950s an unknown artist took the New York art scene by
:09:47. > :09:51.storm. With his black paintings, Frank
:09:51. > :09:57.Stella demonstrated the raw power of simplicity and he shot to fame
:09:57. > :10:01.as the father of minimalism. This is Delta, it's the first of
:10:01. > :10:09.Stella's famous black paintings, a sequence of 24 variations on this
:10:09. > :10:12.theme, thick, black enamaled paint in stripes. The paintings made his
:10:12. > :10:16.name, because, well, they were so radically different to everything
:10:16. > :10:20.that had come before. They seemed to suggest that art could be
:10:20. > :10:28.impersonal and mechanical. They're austere. They're very aggressive. I
:10:28. > :10:32.think that all of them radiate the same implaqueable presence, like a
:10:32. > :10:36.fairy Godfather cursing everything in sight. They look like the work
:10:36. > :10:46.from the end of someone's career. Actually when he made them he was
:10:46. > :10:47.
:10:47. > :10:53.Frank, I am really pleased that this piece, Delta, is in the show,
:10:53. > :10:57.because my understanding is this is the starting point for your entire
:10:57. > :11:04.career? Well, it's the starting point for other people's ideas
:11:05. > :11:10.about my career. But basically, it's about painting something out.
:11:10. > :11:18.When I looked at it later I just liked the way it looked. From there
:11:18. > :11:23.on it just took off. Grape Island is a piece that shows how he was
:11:23. > :11:28.influenced by his contemporary Jasper Johns and Jackson Pollock
:11:28. > :11:31.but the black paintings were something new and gained Stella
:11:31. > :11:41.instant notoriety as an energetic force on the arts scene. Quickly
:11:41. > :11:42.
:11:42. > :11:45.you went from Delta to this piece, which is... Quickly, yes, two years.
:11:45. > :11:50.There are several really noticeable things about this. First of all,
:11:50. > :11:57.it's the strange shape of the canvas. This, to me, is the limit
:11:57. > :12:02.of shape painting. What do you mean? Because if you were to make
:12:02. > :12:06.it - shape it more in the centre, take a couple of bands away it
:12:06. > :12:12.wouldn't work. There's too much negative space and not enough
:12:12. > :12:22.positive activity. To me this was the limit. The implied square is
:12:22. > :12:29.
:12:29. > :12:32.These works on this wall date from the early to mid-60s. The thing
:12:32. > :12:35.that's immediately obvious is that they're really, really colourful.
:12:35. > :12:41.It's a basic thing to say, but why were you suddenly introducing
:12:41. > :12:46.colour in such a big way into your work? Well, I mean, that's a kind
:12:46. > :12:51.of set-up question. Even my father told me after looking at the black
:12:51. > :12:56.paintings that colour sells. That colour sells? And he wasn't a
:12:56. > :13:02.specialist. Lots of people say that you were trying to banish pictorial
:13:03. > :13:08.depth early on, but in a sense you create your own version of depth
:13:08. > :13:12.because these aren't flat, some colours recede, some come out?
:13:12. > :13:20.don't think that's any great crime. Look, this isn't a trial! It's a
:13:20. > :13:28.celebration. But, there was always an onus on abstraction to prove
:13:28. > :13:31.itself, in other words, you know, why wasn't abstract art just
:13:31. > :13:38.geometric and academic and this is a pretty good answer to that
:13:38. > :13:45.question. As in you are trying to say it's vibrant and it's got huge
:13:45. > :13:52.impact. It gets you here? It can be very visual, very pictorial. I mean,
:13:52. > :13:56.it's the goal of all our... Stella's great ambitions for
:13:56. > :14:02.abstraction paid off as in 1970 at the age of 34 he became the
:14:02. > :14:05.youngest ever artist to receive a retrospective at the Museum of
:14:05. > :14:10.Modern Art in New York. His response was to rethink his style
:14:10. > :14:17.yet again. The Polish Village series was inspired by a book of
:14:17. > :14:22.architectural drawings of Polish synagogues. Why are they suddenly
:14:22. > :14:29.emerging into three dimensions? They're so different from the 60s
:14:29. > :14:33.paintings because they are entering their world? That's inevitable with
:14:33. > :14:37.building, you can construct a platform for yourself and then
:14:37. > :14:46.inevitably, you are going to build up from there and cover yourself.
:14:46. > :14:53.You start with a foundation and end At the beginning of your career you
:14:53. > :14:57.are laying the foundations and then after time... I see! As you travel
:14:57. > :15:00.through this exhibition, you can see how dramatically Frank Stella
:15:00. > :15:06.moved away from the ordered minimalism of his early career. His
:15:06. > :15:12.later work is unpredictable, three- dimensional and unruly. When was
:15:12. > :15:19.this made? Last year. Right, so it's really recent. And it's
:15:19. > :15:23.another huge change in your style. Yes, you could say it's building a
:15:23. > :15:27.painting again. But it is a big difference because what was done
:15:27. > :15:33.before was really done by hand, even I could participate. But this
:15:33. > :15:37.is totally built by a machine. is clear from the breath of work in
:15:38. > :15:41.this show that Frank Stella's artistic vision has been constantly
:15:41. > :15:45.shifting for more than five decades. There is a restlessness to him.
:15:45. > :15:50.It's become obvious to me throughout this interview is what
:15:51. > :16:00.Motors him as a ferocious drive to keep achieving the goals. Do you
:16:01. > :16:01.
:16:01. > :16:07.consider yourself a competitive person? No, actually, No. The only
:16:07. > :16:12.thing that really makes me unhappy is something I didn't really push
:16:12. > :16:18.hard enough. Frank, thank you show much. Congratulations on the show,
:16:18. > :16:23.I think it's phenomenal. Frank Stella -- Frank Stella: Connections
:16:23. > :16:27.continues until 19th November. What on earth was post-modernism all
:16:27. > :16:32.about? Well, it's the subject of a monster new exhibition at the V&A,
:16:32. > :16:36.ranging across art, architecture, fashion, design, pop culture and
:16:36. > :16:42.much more besides. Michael Smith went along to see if he could work
:16:42. > :16:46.out what it all means. Post- modernism has always been a
:16:46. > :16:52.slippery consent to grass. Maddeningly difficult to gauge the
:16:52. > :16:56.importance or the nature of. Having grown up in a post-modern world,
:16:56. > :17:04.I'm curious to see how this great old institution tries to and pick
:17:04. > :17:07.it off. Post-modernism, style and subversion aims to make sense of it
:17:07. > :17:17.as an intellectual and artistic movement. But also as a wider
:17:17. > :17:18.
:17:18. > :17:22.cultural condition. The show focuses on the years 1970 to 1990.
:17:22. > :17:27.But typically for post-modernism, these dates throw up as many
:17:27. > :17:34.questions as they do answers. His post modernism definitely dead? If
:17:34. > :17:40.so, what's its legacy, and what was it all about in the first place?
:17:40. > :17:44.The exhibition starts with the death of modernism. By the early
:17:45. > :17:50.70s, some in the architectural world saw the first demolitions of
:17:50. > :17:56.modernist high rise buildings as a symbolic failure of modernism's
:17:56. > :18:02.puritanical Utopian vision. An alternative sensibility was first
:18:02. > :18:08.imagined when architects Robert Venturi and Denise Scott Brown
:18:08. > :18:11.travelled to Las Vegas. In the City's naive, kitsch, colourful
:18:11. > :18:16.architecture they saw a vibrant alternative to the elitist,
:18:16. > :18:20.totalitarian vision of high modernism. There is a tangible
:18:20. > :18:24.excitement in these pictures. A real sense that this one simple,
:18:24. > :18:28.profound idea was a kind of epiphany. A skeleton key that
:18:28. > :18:36.opened up a whole new understanding that the world we've built up
:18:36. > :18:41.around us. Route 66 to Vegas was post-modernism's road to Damascus.
:18:41. > :18:45.Charles Moore's Piazza Italia or public plaza in New Orleans was
:18:45. > :18:51.nearly -- was an early example of this new approach. Inspired by both
:18:51. > :18:58.classical Rome and contemporary Las Vegas. The artist and self said it
:18:58. > :19:02.is 20th century, commercial bad taste is part of it. Whereas
:19:02. > :19:10.modernism sought a clean slate free from history, post-modernism in
:19:10. > :19:14.various guises sought a play for, ironic re-engagement with the past.
:19:14. > :19:20.Central to this post-modern approach was the idea of a collage.
:19:20. > :19:23.A term borrowed from the French anthropologist Claude Levi-Strauss.
:19:23. > :19:27.What it basically means is assembling something new from
:19:27. > :19:33.things that are already there, regardless of style or taste. And
:19:33. > :19:37.it's a way of accepting the world as it is and then reconfiguring it.
:19:37. > :19:42.Although the original challenge to high modernism sense a genuinely
:19:42. > :19:46.profound cultural shift, a lot of what followed in Architecture and
:19:46. > :19:53.Design seems a bit of a fad and clever clogs to me. It becomes very
:19:53. > :19:57.annoying very quickly. You would think that hate was too strong a
:19:57. > :20:02.word for kitchen appliances but I do find some of these pieces
:20:02. > :20:08.genuinely revolting. They just seemed so hollow and smug. They are
:20:08. > :20:16.like this kind of highbrow in-joke about bad taste that seems like
:20:16. > :20:22.such a dead end. But maybe this was always there.. Perhaps its
:20:22. > :20:27.hollowness is its haunting quality, its depth you might even say. For
:20:27. > :20:32.me, it's when we look at post- modernism in popular culture that
:20:32. > :20:37.all the ideas of high and low, authenticity and taste seem most
:20:37. > :20:40.vibrant and important. I think pop music and performance is the
:20:41. > :20:45.absolute apex of post-modernism. That's because it was always meant
:20:45. > :20:49.to be on stage and under hot lights. If you think about the 80s, you
:20:49. > :20:54.think about cosmetics, big hair, you think about big shoulder pads.
:20:54. > :20:58.All of that stuff was appearing on celebrities on MTV. It was about
:20:58. > :21:02.not even being interested in authentic personalities any more.
:21:02. > :21:06.It was just a matter of the effect you could make, turning yourself
:21:06. > :21:09.into a special effect. For me, that is what talking heads are about,
:21:09. > :21:15.Grace Jones, it's about freedom of choice. It's about doing what you
:21:15. > :21:19.like. One of my favourite things in this exhibition are these
:21:19. > :21:24.turntables that we used by Grandmaster Flash, who was an early
:21:24. > :21:30.pioneer of hip-hop. He mixed, some cold and scratched old records to
:21:30. > :21:34.create an exciting form of music. It's a perfect example of post-
:21:34. > :21:41.modernism. Using what was already there to make something fresh and
:21:41. > :21:45.new. The exhibition ends in 1990. Do you see that as meaning post-
:21:45. > :21:50.modernism is dead then? I think post-modernism is a movement has
:21:50. > :21:53.pretty much died by the late 1980s. But in some ways the story is just
:21:53. > :21:58.beginning men because post- modernism is an early warning
:21:58. > :22:02.system for our lives. So it anticipates. In many ways it was
:22:02. > :22:06.forecasting or predicting the things we were -- the things we are
:22:06. > :22:10.experiencing now. This show feels like a premonition of the
:22:10. > :22:13.fragmented and overloaded digital age we live in today. Post-
:22:13. > :22:18.modernism as an artistic or intellectual movement may have gone,
:22:18. > :22:24.but post-modernism as a wider sensibility, a condition, is
:22:24. > :22:27.terminated the culture. It's a fundamental part of our lives.
:22:27. > :22:30.Post-modernism's style and subversion is at the V&A until the
:22:30. > :22:35.eighth of January. On the theme of subversion, we tend to Nigel
:22:35. > :22:38.Kennedy, one of the world's most famous violinists. He shot to fame
:22:38. > :22:42.in 1989 with a performance of Vivaldi's The Four Seasons that
:22:42. > :22:46.went on to become one of the best- selling classical discs of all time.
:22:46. > :22:50.Now, on the eve of the release of his new album, the Four Elements,
:22:50. > :23:00.he told us about the four golden rules that have underpinned his
:23:00. > :23:08.
:23:08. > :23:11.I've never been really rebelling against anyone, just not been
:23:12. > :23:16.prepared to play music on other people's terms. Music is a personal
:23:16. > :23:26.thing. It's got to have some of your own soul in it. You can't have
:23:26. > :23:28.
:23:28. > :23:33.your soul dictated to by other Change is vitally important if it's
:23:33. > :23:43.going to have life. You can't put music or any form of art into a
:23:43. > :23:47.
:23:47. > :23:53.Stasis. It's got to be an evolving People ask me to play The Four
:23:53. > :23:56.Seasons quite a lot. It's kind of my calling card. For me, I can't
:23:56. > :24:00.play it any more straight. I'm doing something completely new with
:24:00. > :24:05.it at the moment. I can't go back and play exactly the same stuff
:24:05. > :24:09.that I've done in 1989, it's impossible. I've got Damon Reece
:24:09. > :24:13.coming in from Massive attack. He is going to do with them. I've got
:24:13. > :24:17.my quintet from my improvising musicians playing in it. Four
:24:17. > :24:21.singers, so we can verbally recreate the poems with music.
:24:21. > :24:30.There will still be The Four Seasons in it but it's going to be
:24:30. > :24:34.a different viewpoint. I found it and none Sybil at this fear when I
:24:35. > :24:41.was a musician starting out. I tried doing it wearing the tales
:24:41. > :24:45.and speaking sweetly and all this kind of sycophantic stuff, see what
:24:45. > :24:49.goes on with classical music. It's just too much, man, I couldn't live
:24:49. > :24:52.like that. I thought I'd try and do it my way and if people don't like
:24:52. > :24:56.it it's not a big loss. I'd wear clothes which are far more natural
:24:56. > :25:03.than what most classical musicians would wear. I wasn't fabricating
:25:03. > :25:10.any image, not a classical one, not a jazz one, not nothing. When I was
:25:10. > :25:15.a student in New York studying was the greatest violence - not violin
:25:15. > :25:21.teacher around. He asked me to play with him at Carnegie Hall. It was a
:25:21. > :25:26.great honour. She was saying, if you go on stage with him they won't
:25:26. > :25:32.give you a classical concert. And I do remember that night. It was a
:25:32. > :25:35.fantastic night. True to my teacher's word, I lost the contract.
:25:35. > :25:45.But if I'd not played, that would have just been another little bit
:25:45. > :25:47.
:25:47. > :25:52.No, I've never believed in genres being important. It's almost as in
:25:52. > :25:56.my career I've been trying to fight against the dollars and these
:25:56. > :26:04.categories, I'm not interested in that. So why have written this new
:26:04. > :26:07.thing called the Four Elements. -- I have written. It's got classical
:26:08. > :26:13.influences in it, it's got influences ranging from Frank Safed,
:26:14. > :26:18.Marvin Gaye, some jazz aspects. I like music. To me it's a trip. It
:26:18. > :26:21.started off at one point, you don't know if you are going to end up
:26:22. > :26:31.north, south, west or east. See where you finish up when you get
:26:32. > :26:41.
:26:41. > :26:44.All right, man. Cheers, guys. Kennedy's new album, Four Elements,
:26:44. > :26:50.was released earlier this week and the tour starts in January. Still
:26:50. > :26:54.to come, we've got Mark Kermode with Lars Von Trier. Literary
:26:54. > :26:59.superstar Diana Athill, a visit to Wandsworth prison and the winner of
:26:59. > :27:04.this year's Golden Lion at the Venice bien Ali, Christian Marclay.
:27:04. > :27:07.Next tonight, it's the launch of the Heritage Angels Awards. Simon
:27:07. > :27:13.Thurley, chief executive of English Heritage, and Andrew Lloyd Webber,
:27:13. > :27:17.but Chair of the judging panel, describes a new scheme to celebrate
:27:17. > :27:27.the efforts of those passionately pulling together to save their
:27:27. > :27:29.
:27:29. > :27:37.This is ten-mile banker in Norfolk's Fenlands. There are no
:27:37. > :27:47.shops here and mow pub, either. What the village does still have is
:27:47. > :27:47.
:27:47. > :27:53.a church. But in 2002, even that was in jeopardy. This is St Mark's
:27:53. > :27:57.Church. It was finished in 1846 at exactly the moment that the railway
:27:57. > :28:00.came to the Fens, in the middle of Queen Victoria's rain. One of the
:28:00. > :28:07.reasons it is so important is because absolutely nothing he has
:28:07. > :28:17.changed since then. But all of this was at risk because nine years ago,
:28:17. > :28:18.
:28:18. > :28:22.Why was it in such a terrible state? When they built it they
:28:22. > :28:25.built the church half on the river bank, which has to be stable for
:28:25. > :28:30.the river not to burst its banks, and the other end of the church is
:28:30. > :28:34.built out on to the fields, the Fens, which are peat bogs, and that
:28:34. > :28:39.is drying out and shrinking. Over the course of 80 years, the
:28:39. > :28:43.building slowly began to tip into the subsiding peat bogs. That
:28:43. > :28:46.resulted in the walls cracking, the roof at structure becoming unstable.
:28:46. > :28:52.But they wouldn't insure the building at that point. We have to
:28:52. > :28:56.then either decide to close it, demolish it or restore it.
:28:56. > :29:02.residents of the area decided they wanted to get the church restored.
:29:02. > :29:08.So they got together and started fund-raising. How much did you have
:29:08. > :29:12.to raise in total? In the village, eventually we had to raise �60,000.
:29:12. > :29:16.For a village with a population of just 250, that's quite a bit of
:29:16. > :29:20.money. Look at that one, it looks like the whole village is out.
:29:20. > :29:25.There's no doubt in my mind that what the people of this village
:29:25. > :29:30.have achieved here at St Mark's Church is remarkable. But the good
:29:30. > :29:33.news is that they are not alone. People all over the country are
:29:33. > :29:38.coming together to try to save buildings that they care
:29:38. > :29:44.passionately about. The English Heritage register of heritage at
:29:44. > :29:48.risk contains over 5500 such places. And it is to celebrate the
:29:48. > :29:58.achievements of communities and saving them that the Heritage
:29:58. > :29:59.
:29:59. > :30:04.So, what are the Heritage Angel Awards? They're prizes that are
:30:04. > :30:07.going to be given to the best rescue of a place or a building on
:30:07. > :30:13.the English Heritage, heritage at risk register. There are going to
:30:13. > :30:16.be four categories. The first is a place of worship. The second is for
:30:16. > :30:23.the rescue of an industrial building.
:30:23. > :30:28.The third is a craftsmanship award for the best craftsmanship involved
:30:28. > :30:32.in the rescue. The last one is a prize for a category which doesn't
:30:32. > :30:35.involve the other three, so it's any other place.
:30:35. > :30:39.Four applicants will be shortlisted in each category and everyone on
:30:39. > :30:45.the short list will be invited to an awards ceremony in London.
:30:45. > :30:49.They'll meet Andrew Lloyd Webber, the mastermind behind the awards
:30:49. > :30:53.and chair of the judging panel. hope if you win one of these awards
:30:53. > :30:56.it's basically saying I have done something brilliant. I have done
:30:56. > :31:01.something for my local community. I have saved a building for the
:31:01. > :31:05.nation and by doing that I think what you can then do is to get a
:31:05. > :31:10.culture going where people feel yeah, we got to look at that, what
:31:10. > :31:14.is that building on the corner? You can't take it for granted. If we
:31:14. > :31:22.forget our past you will find that eventually the quality of our life
:31:22. > :31:25.is totally eroded. We have got to celebrate the best that we have.
:31:25. > :31:30.English Heritage offices around the country have been sifting through
:31:30. > :31:33.the applications in order to come up with a shortlist. Over the next
:31:33. > :31:37.few weeks Andrew and I will be examining the shortlist along with
:31:37. > :31:42.a team of other judges. The awards will be presented in the late
:31:42. > :31:46.autumn. I think that these awards are a
:31:46. > :31:53.brilliant opportunity to recognise and celebrate the achievements of
:31:53. > :31:57.thousands of heritage heroes up and down the country. People like those
:31:57. > :32:02.here who literally have saved this Church from sinking forgotten into
:32:02. > :32:05.the Fenland mud. If you look around us now all these gravestones
:32:05. > :32:10.actually tell the story of this place, its people. And this
:32:10. > :32:16.building is central to that story. They came here as babies, were
:32:16. > :32:23.baptised in the font, came here to be married, came here to be buried.
:32:23. > :32:31.Behind me are my mum and dad. So, just wish my mother was here to see
:32:31. > :32:35.this today. And next week Simon will be looking
:32:35. > :32:38.at the four contenders in the industrial buildings category.
:32:38. > :32:45.Now for another group of people keen to do their bit. Although,
:32:45. > :32:49.it's not quite a case of village fairs and fun runs but it's all
:32:49. > :32:58.geared towards rehabilitation and putting something back. Tim Samuels
:32:58. > :33:02.went to Wandsworth Prison to find out more. The filming was done to
:33:02. > :33:09.conceal some identities. Wandsworth Prison in south London houses some
:33:09. > :33:16.of the toughest criminals in the British penal system. But in this
:33:16. > :33:21.unlikely environment a dying art is flourishing. It turns out the last
:33:21. > :33:31.bastion of needlework isn't in suburbia, but behind these prison
:33:31. > :33:35.
:33:35. > :33:39.walls. Fince Cell Work is a charity. Most prisoners are released with
:33:39. > :33:43.little more than their travel costs, so the opportunity to earn money
:33:43. > :33:48.whilst still doing time can mean the difference between
:33:48. > :33:51.rehabilitation and re-offending. Some of the most experienced
:33:51. > :34:00.stitchers can find themselves working on commissions from
:34:00. > :34:06.businesses, or even artists like Gavin Turk. When did you first
:34:06. > :34:10.start doing the stitching? I have done it for six weeks now. The
:34:10. > :34:14.first piece, I wouldn't say it was bad, but it's all right. That was
:34:14. > :34:19.my first piece that I done. I thought you could only do one
:34:19. > :34:25.stitch, that was normal stitching. But when you tpw in a straight line,
:34:25. > :34:29.I didn't know there was about six different stitches. How much time
:34:29. > :34:32.do you spend sewing? Sometimes I do a couple of hours. You think you
:34:32. > :34:41.have done half an hour of it, but you see it's like four hours gone
:34:41. > :34:45.by. It's something I thought wouldn't be doing, stitching and
:34:45. > :34:54.that would think would be for old ladies and that. To be fair the
:34:54. > :35:01.volunteers are probably Something they didn't expect to be either.
:35:01. > :35:05.Hi, Tim, nice to meet you. I am Jacqui. Why are you here? Good
:35:05. > :35:11.question. We have been here for about eight years. Eight years,
:35:11. > :35:15.yeah. Working for Fince Cell Work, the charity was started by a
:35:15. > :35:18.wonderful woman who was a prison visitor and she noticed how long
:35:18. > :35:25.people were locked up and was appalled and tried to think what
:35:25. > :35:30.can people do in a small space and sewing is an obvious one. She
:35:30. > :35:35.started Fince Cell Work in a minor way and it's grown, we are in how
:35:35. > :35:39.many prisons? 29. Not us personally, there are groups all around the
:35:39. > :35:43.country. There must be guys who you have a fairly close relationship
:35:43. > :35:47.with? You will have seen them over a long period of time and seen them
:35:48. > :35:50.develop? Yes, we had somebody a long time ago, the most
:35:50. > :35:55.extraordinary change was we didn't actually like being in the same
:35:55. > :36:01.room with him. He was a very awkward character. Very angry.
:36:01. > :36:06.Arrogant. Within a short time he became part of a team. He was
:36:06. > :36:11.helpful to everybody else and totally changed man. Completely
:36:11. > :36:15.changed man and he said doing this work made him think about why he
:36:15. > :36:19.was in prison and how he had got to change and he wanted to do
:36:19. > :36:23.something for somebody else. It's quite hard to come in a prison and
:36:23. > :36:27.not wonder, firstly, what would it take for me to end up in here.
:36:27. > :36:31.Secondly, how would I cope if I did. I am glad you said that because I
:36:31. > :36:36.have often thought that. We have been fortunate in having very
:36:37. > :36:42.supportive families, good education and things. But yeah, it's a very,
:36:42. > :36:47.very fine line. It is easy. Look at this, I mean, it's a very, very
:36:47. > :36:52.sophisticated piece of work that. This is a man who's possibly never
:36:52. > :36:58.had an art lesson or a craft lesson. He hasn't. He hadn't done stitching
:36:58. > :37:02.before he met us. For some of them when we say here's a piece of
:37:02. > :37:06.fabric - like these here, these were animal cushions we did for
:37:06. > :37:12.children. They were just given the shape of the animal and they could
:37:12. > :37:15.do what they liked around it. When they first were given these they
:37:15. > :37:19.couldn't even choose the colour of the threads. They said no, you
:37:19. > :37:24.choose for us. We would say no, what do you like? What would you
:37:24. > :37:30.find pleasing? You realise that in here they're not allowed, they
:37:30. > :37:35.don't have a chance to make decisions. When somebody said do
:37:35. > :37:41.you fancy doing some sewing what was your initial reaction?
:37:41. > :37:46.initial reaction was sewing, like I had to laugh, things that nobody
:37:46. > :37:50.mix criminals and sewing. I rely on my Granmother outside to send me
:37:50. > :37:55.money in prison, when I found out money was helping them, that's the
:37:55. > :38:01.main reason I got it, so I haven't got to ask for family for money, I
:38:01. > :38:05.can support by doing this. Once the doors are shut for good, that's
:38:05. > :38:09.when you can get on with your sewing? That's when I can get on,
:38:09. > :38:12.relax. It's doing me a favour doing the sewing because it takes my mind
:38:12. > :38:15.off things. When you are sitting there behind the door you have a
:38:15. > :38:20.lot of time to contemplate on family and things and this helps
:38:20. > :38:24.take my mind off it and concentrate on something else. It does help me,
:38:24. > :38:29.it's like escapism in a way. It's good to know the work is going
:38:29. > :38:34.somewhere useful. I like the baby cushions because they're special.
:38:35. > :38:38.They're one-offs for a new baby and yeah. There's intricat stitching
:38:38. > :38:48.going on there. The main stitch, the legs and shorts and t-shirt
:38:48. > :38:48.
:38:48. > :38:55.that's chain stitch. A loop stitch. The trainers, satin stitch and back
:38:55. > :38:58.stitch in the middle. Tennis bat is Staten. What is your relationship
:38:58. > :39:06.with Jacqui and Cherry? relationship is good with them.
:39:06. > :39:09.They treat us like normal people and it feels good for us. You have
:39:09. > :39:14.people coming in off the street, they don't get paid. They're giving
:39:14. > :39:18.time to help us and help us support ourselves in prison. So, and
:39:18. > :39:23.they're friendly and all. The people that do this, have a lot of
:39:23. > :39:27.love towards them. How long are you in for? A nine-year sentence, I
:39:27. > :39:32.have three years left. Have you plans for when you leave? My main
:39:32. > :39:35.plan, my main goal is to stay out of trouble when I get out. But I
:39:35. > :39:38.have had that goal so many times in the past and kept coming back to
:39:38. > :39:41.prison, so I know I have to do something different. It seems a
:39:41. > :39:45.simple thing, sewing and yet it's having a profound effect on the
:39:45. > :39:48.lives of prisoners here. The judicial system is even under more
:39:48. > :39:52.pressure with the recent riots and perhaps it's time to ask whether
:39:52. > :39:57.there's a better way to do things, a way where prisoners aren't just
:39:57. > :40:04.doing time, but contributing something as well.
:40:04. > :40:08.And you can see an award-winning piece by Fince Cell Work as part of
:40:08. > :40:13.a exhibition which at the South Bank Centre until 20th November.
:40:13. > :40:23.Next, we join journalist Lyn Barber on a visit to a less imposing
:40:23. > :40:25.
:40:25. > :40:33.building, in a suburb of north This quiet retirement home in north
:40:33. > :40:38.London lives one of Britain's most remarkable authors. Diana Athill is
:40:38. > :40:42.93 and gives hope to all us ageing writers. She didn't become famous
:40:42. > :40:52.until she started writing her memoirs at the age of 80 and since
:40:52. > :40:56.
:40:56. > :40:59.then she's been having a good time. Diana had an I will hrus triious --
:40:59. > :41:04.illustriious career. In retirement she found her own voice, writing
:41:04. > :41:09.books that laid bare a very unconventional life.
:41:09. > :41:15.Her latest is a collection of letters written over 30 years to
:41:15. > :41:24.the poet Edward Field. It's a soul- barring book which takes her life
:41:24. > :41:28.up to the point when she moved into this old people's home.
:41:28. > :41:38.important game for being old is one ceases to be a sexual being. This
:41:38. > :41:42.may be less true of men than it is of women. Indeed, in some men a
:41:42. > :41:45.freakish sexuality seems to intensify. I have become free to
:41:45. > :41:51.love men without wanting to go to bed with them, which is
:41:51. > :41:55.surprisingly delightful. This is your new book and it's
:41:55. > :42:01.called Instead Of A Book, because it's letters you wrote. My first
:42:01. > :42:07.book I ever published was called Instead Of A Letter. It suddenly
:42:07. > :42:12.occurred this book takes the form of letters, so I said, Instead Of A
:42:12. > :42:21.Book. It's really good, because it covers all sorts of crises of old
:42:21. > :42:24.age. I mean, you have bad feet and you have to wear dentures and have
:42:24. > :42:30.an operation, which makes it sound as if it's going to be depressing,
:42:30. > :42:34.actually it's very, very jolly. As somebody sort of heading nervously
:42:34. > :42:39.towards old age myself, I thought it's not as bad as all that,
:42:39. > :42:44.actually. It isn't. It's entirely luck, of course. We did notice
:42:44. > :42:49.Edward and I when we started the corerespondence, 30 years ago, we
:42:49. > :42:55.were a good deal younger. We weren't so obsessed. We began to be
:42:55. > :43:01.towards the end, there was rather a lot about oh, darling how awful! Do
:43:01. > :43:05.go and see a doctor about that, you know! The other day I went to an
:43:05. > :43:10.exhibition at the Tate Britain. When it came to it, I enjoyed
:43:10. > :43:14.looking at the paintings so much that I stopped noticing my
:43:14. > :43:20.arthritic hips and got around the exhibition very happily. Now you
:43:20. > :43:25.have all this sort of brohaha of publication. Do you love that?
:43:25. > :43:29.was a most incredible surprise. Of course, I never thought I was going
:43:29. > :43:33.to do - I never thought they would be successful. You said that you
:43:33. > :43:38.found that that you enjoyed being interviewed, you found you enjoyed
:43:38. > :43:43.talking to audiences. And found a sort of streak of exhibitionism in
:43:43. > :43:48.yourself that you hadn't known you had. That was a surprise. Do you
:43:48. > :43:54.sometimes wish that you had had that fame earlier in life? No, no,
:43:54. > :43:58.I don't. I think that all this fuss is made about - might be quite
:43:58. > :44:03.corrupting because you start believing it. When ladies come up
:44:03. > :44:08.to me, as they often do because I am old, and am having a cheerful
:44:08. > :44:12.time and they say you are you are such an inspiration. And if people
:44:12. > :44:21.said that to me when I was young I might believe it, now I think it's
:44:21. > :44:26.For all her lust for life, her early years were defined by a
:44:26. > :44:30.single tragedy. In her early 20s, she was engaged to Paul, a young
:44:31. > :44:40.RAF officer. But during the war he tilted her, shortly before he was
:44:40. > :44:47.killed. Instead of a letter, you talk about the terrible experience
:44:47. > :44:53.of being jilted by your young man. And you save that devastated you
:44:53. > :44:58.for a very long time, 20 years or something. I had lots of other love
:44:58. > :45:03.affairs after that! It did wreck my confidence for a very long time.
:45:03. > :45:11.But having been jilted, did you think, I can never marry now?
:45:11. > :45:15.didn't think I could never marry. What I did was I found myself
:45:15. > :45:23.sheering off a serious love affairs because I felt they were bound to
:45:23. > :45:28.end badly. I like having frivolous love affairs. I preferred it.
:45:28. > :45:36.casual sex, too. Can draw sex, yes. Did you meet somebody and jump into
:45:36. > :45:44.bed that same evening? I've done that in my time, yes! And I enjoyed
:45:44. > :45:47.it. It made life better. Diana went on to become one of the most
:45:48. > :45:55.influential women in publishing, turning editing into an art form.
:45:55. > :45:59.But her books reveal her sometimes exploitative treatment by her long-
:45:59. > :46:04.term boss, the brilliant but notorious Andre Deutsch. You
:46:04. > :46:10.suddenly burst out what a horrible man he was. He's been exploiting
:46:10. > :46:16.you ruthlessly all through your career, and are paying you. I just
:46:16. > :46:21.thought, why haven't you said that 20 years ago? Why haven't you
:46:21. > :46:29.demanded money? I've known him for a long time. He was quite funny and
:46:29. > :46:33.charming when he liked. On the whole, I think the others did, too.
:46:33. > :46:39.We all floated a long having a pleasant time and didn't make a
:46:39. > :46:46.fuss about it. Yes, I was really shocked, though. To learn that you
:46:46. > :46:52.were only paid 15,000. When I finished. Yes. It was absolutely
:46:52. > :46:59.ridiculous. That was terrible. didn't realise it was terrible. We
:46:59. > :47:04.lived in this little pocket of everyone being quite poor. To this
:47:04. > :47:14.day I'm a bit astray about what things ought to cost. To this day,
:47:14. > :47:16.
:47:16. > :47:21.The success of the Diana's memoirs means that even in her 10th decade
:47:21. > :47:25.she is still capturing new generations of readers. Don't you
:47:25. > :47:32.sometimes want to leave some things out? By the time I finished, I did
:47:32. > :47:35.wonder what my mother was going to think! She is now as successful as
:47:35. > :47:45.the famous authors she edited. A jury is testament to the virtues of
:47:45. > :47:45.
:47:45. > :47:51.old age. -- joyous. Are you aiming to live to 100? Please God 0!
:47:51. > :47:56.not? It's fine why your health is good. But your health might be
:47:56. > :48:03.going wonky at any minute. It gets dreadful when it does. I've seen it
:48:03. > :48:08.happen very quickly. Memory going like that. Do you think you will
:48:08. > :48:14.write another book? I doubt it. I'm not a novelist, I've not got that
:48:14. > :48:19.sort of imagination. I can't make things up. Yes. I like documentary
:48:19. > :48:27.writing. So do I. And by the time you're in your 90s, not very much
:48:27. > :48:33.does happen! Instead of a book Letters to a friend is published on
:48:33. > :48:39.the sixth of October. Now the mood takes a turn, and how! From the
:48:39. > :48:43.racy Cannings on from a litter Mary -- literary phenomenon to the dark
:48:43. > :48:53.Side Of Cinema, as Mark Kermode takes us on a tour through the mind
:48:53. > :48:55.
:48:55. > :49:00.and movies of controversial film Bunkered down in and abandoned army
:49:00. > :49:04.training camp on the outskirts of Copenhagen is Lars Von Trier's
:49:04. > :49:10.studios - a guerrilla cell of cinema. A guerrilla cell with a
:49:10. > :49:14.golf cart, that is. He seldom leaves Denmark to to a bizarre
:49:14. > :49:19.assortment of phobias and anxieties. So why have tracked him down here
:49:19. > :49:23.at this abandoned military base he calls home. Personally, I have a
:49:23. > :49:27.rather conflicted relationship with Lars Von Trier's films. Some of
:49:27. > :49:32.them I really like, I was a big film of Antichrist, which was
:49:32. > :49:37.shockingly dubbed the most ludicrous film ever made. I admired
:49:37. > :49:40.Dogville. And I'm a fan of his new film, Melancholia, which is
:49:40. > :49:44.basically a low-key character drama about the end of the world. But
:49:44. > :49:49.he's also made films I absolutely hate. For example, Breaking The
:49:49. > :49:53.Waves. Or, more pertinently, the idiot, which got me thrown out of
:49:53. > :49:57.the Cannes Film Festival for heckling the screen. Lars Von Trier
:49:57. > :50:01.got thrown out of Cannes himself recently foretelling press
:50:01. > :50:05.conference he was a bit of a Nazi. An outrageously ill-judged joke
:50:05. > :50:08.referring to the fact he was raised in a Jewish family and proud of his
:50:08. > :50:12.Jewish heritage, but learnt on his mother's deathbed that his
:50:13. > :50:16.biological father was German. He has been apologising for and
:50:16. > :50:19.attempting to explain away the offence he caused ever since. But
:50:19. > :50:24.isn't this just another example of him being a provocateur, a
:50:24. > :50:34.prankster? And just how seriously can we take anything that Lars Von
:50:34. > :50:40.
:50:40. > :50:49.The Earth is evil. We don't need to grieve for it. What? Nobody will
:50:49. > :50:53.miss it. At the very beginning of the film we see the end of the
:50:54. > :50:56.world. The film starts with the end of the world. There is then a very
:50:56. > :51:06.striking juxtaposition between that and the fact that we then cut away
:51:06. > :51:15.
:51:15. > :51:25.wedding, which is meant to be the Justine and Michael. You look
:51:25. > :51:32.blowing today. Never seen you look The world of film describes it as
:51:32. > :51:37.something a typical for me. It's high-class, my problem with the
:51:37. > :51:45.film is suddenly when you have a fantastic cast and a fantastic
:51:45. > :51:55.garden, people in tuxedos and in bridal dresses, everything all the
:51:55. > :51:57.
:51:57. > :52:02.sudden turns to look like a What star is that, the red one?
:52:02. > :52:06.underlying atmosphere of everything is this is all going nowhere, this
:52:06. > :52:10.is all going to end and it's all going to end badly. When I look
:52:10. > :52:16.around and look at works of art that I like, they all contain
:52:16. > :52:21.Melancholia to some point. I would describe it as being the source you
:52:21. > :52:26.put in the food. If you've got to put Melancholia in then you have to
:52:26. > :52:31.have some Melancholia at the table to put it in, to me to become a
:52:31. > :52:34.real dish. What a load of crap! For those who don't know why and, I am
:52:34. > :52:38.Claire and Justine's mother. Justine, if you have any ambition
:52:38. > :52:48.at all, it certainly doesn't come from your father's side of the
:52:48. > :52:51.
:52:51. > :52:55.family. Yes. I wasn't at the church. I don't believe in marriage. Clare,
:52:55. > :53:01.who I've always taken for a sensible girl, who arranged a
:53:01. > :53:09.spectacular party. Till Death do Us Part and forever and ever, Justine
:53:09. > :53:17.and Michael. I just have one thing to say. Enjoy it while it lasts.
:53:17. > :53:23.see it as more a film about a state of mind or a mental condition man-
:53:23. > :53:28.made disaster film in that sense. - - man-made disaster film in that
:53:28. > :53:32.sense. My interpretation was that the whole world got depressed, not
:53:32. > :53:36.the people in the world but the whole world changed. There are
:53:36. > :53:42.certain themes in Melancholia that are closely mirrored in Antichrist.
:53:42. > :53:47.The idea that nature is Satan's church. The idea that the Earth is
:53:47. > :53:55.wicked. I'm just laughing because this is supposed to be something
:53:55. > :53:59.which should drag you into the cinema. I'm sorry. The musical
:53:59. > :54:03.numbers are great as well and the special effects are terrific! You
:54:03. > :54:13.know these things are in the film. I know, I'm sorry. I can't really
:54:13. > :54:31.
:54:31. > :54:35.tell you why. But they are both I think it's very cool - macro to
:54:35. > :54:45.put us here and make us know that we are going to die, and make us
:54:45. > :54:49.know that whatever has step we take will be evil in one way or another.
:54:49. > :54:56.That is plants and animals, they have a war on each other. I play
:54:56. > :55:02.around with the idea that this was the only life and would forever be
:55:02. > :55:06.the only life. That made it not only melancholic but also
:55:06. > :55:10.interesting, in a strange way. Darling, this is going to be the
:55:10. > :55:14.most amazing experience we will have in our lives. It will be here
:55:14. > :55:19.in five days and it is not going to hit us, just like it didn't hit
:55:19. > :55:24.Mercury. And it didn't hit Venus. And it would hit Earth, as we know
:55:24. > :55:32.it won't. Claire, look at me. Sweetheart, you have to trust the
:55:32. > :55:35.scientists. I have always thought with things that you say in public
:55:35. > :55:40.that I always am inclined to take them with a pinch of salt because I
:55:40. > :55:44.think a lot of the time you say things... You don't actually mean
:55:44. > :55:49.what it is that you say. Why did the Cannes thing happen, how does
:55:49. > :55:59.it now sit? First of all, it hit me much stronger than I expected.
:55:59. > :56:02.
:56:02. > :56:07.Afterwards? Yes. I am better 1-1, whatever it is called.... One-on-
:56:07. > :56:12.one. If I say, I am a Nazi, you will say, what do you mean, which
:56:12. > :56:18.would help me tremendously. What did you mean? The whole thing came
:56:18. > :56:26.that the fact my father was German. So the joke was that I was not a
:56:26. > :56:32.Jew, I was a Nazi. He was not a Nazi, he was a freedom fighter. It
:56:32. > :56:40.was not a joke about the Holocaust. It was a joke about you. It was a
:56:40. > :56:44.joke about me. I feel very Jewish. For me, that anyone should see that
:56:44. > :56:48.I was anti-Semitic would kind of her to be. I have to say, when I
:56:48. > :56:53.heard you say it I didn't think for one minute you are a Nazi. I don't
:56:53. > :56:58.think that. I don't think so either. But I think you do say things in
:56:58. > :57:03.public sometimes that you shouldn't say. Yes. But then I shouldn't talk
:57:03. > :57:06.in public. That's it. That's what I'm doing right now. Exactly.
:57:06. > :57:11.press conferences are worse because you can't come in and say what
:57:11. > :57:15.you've just said. I will finish on this. I haven't met you before and
:57:15. > :57:18.I've seen all your films. Some of them I've loved, some of them I've
:57:18. > :57:22.hated. I always thought that everything you say in public, I
:57:22. > :57:27.don't know whether I believe any of that. The interesting thing is
:57:27. > :57:35.actually, having now spend an hour or so with you, I do think that you
:57:35. > :57:42.are sincere. Well, then I have manipulated you! Exactly. My task,
:57:42. > :57:48.that is my job. Melancholia is in cinemas now. That is just about it
:57:48. > :57:52.for tonight. On Sunday at 5:00pm on BBC Two, there's a Culture Show
:57:52. > :57:57.special on the best buildings of 2011. Next week, Mark Kermode will
:57:57. > :58:01.be talking all about Kevin and Grayson Perry will be settling in