:00:49. > :00:55.collections. Also: Mark Kermode speaks to artist Steve McQueen
:00:55. > :00:59.about his second feature film. John Mullan meets the his son of
:00:59. > :01:04.Alexander Solzhenitsyn to talk about his father's extraordinary
:01:04. > :01:08.literary work. And Aleks Krotoski speaks to
:01:08. > :01:16.Wikipedia foundered Jimmy Wales about the freedom of ideas and his
:01:16. > :01:23.vision for the future. Now we have seen the Arab Spring, I think we
:01:23. > :01:26.The eclectic buildings competing for the heritage at risk award.
:01:26. > :01:31.Michael Smith travelled to Birmingham in search of its
:01:31. > :01:35.cultural soul. And I will be venturing slightly
:01:35. > :01:45.further afield for a photographic exhibition of Captain Scott and his
:01:45. > :01:51.
:01:51. > :01:56.First, a trip into the musical mind of poly math David Lynch. Not
:01:56. > :02:01.content with being a painter, guru of transcendental meditation, Lynch
:02:01. > :02:05.is back this time as a musician. Miranda Sawyer went to Paris to
:02:05. > :02:12.meet him and to find out if there's anything the bequiffed one can't
:02:12. > :02:16.turn his hand to. No filmmaker embraces the magical
:02:16. > :02:22.qualities of music quite like David Lynch. From the queasy shimmering
:02:22. > :02:27.title track of Twin Peaks, to the nightmarish lounge music of his
:02:27. > :02:37.recent film Inland Empire. His sounds are just as memorable as the
:02:37. > :02:40.
:02:40. > :02:46.And now you can give your own life a lynchian sound track for the man
:02:46. > :02:51.himself has released his first ever solo MP. It may have been five
:02:51. > :02:55.years since he last released a film, but he's found a multitude of
:02:55. > :02:59.creative territories to colonise. All of which begs a question, is it
:02:59. > :03:09.possible to hop from genre to genre and still be brilliant at
:03:09. > :03:14.everything?! We are here to talk about your
:03:14. > :03:18.music. We are actually in a very beautiful printing studios. Why are
:03:18. > :03:22.we here? We are here because I'm making prints in this beautiful
:03:22. > :03:26.space. Presses here in this room have been used by Picasso. There's
:03:26. > :03:32.so much of the past that you can feel when you come in. If you think
:03:32. > :03:39.about all the different things you do - you do painting, make films,
:03:39. > :03:42.animation, you print, make music - how does music fit in with that? Is
:03:42. > :03:47.it the most important element or is it an element? It's an element
:03:47. > :03:54.which is a beautiful element and each medium is infinitely deep. So
:03:54. > :03:57.once you start, then you can just keep going. It doesn't end. It just
:03:57. > :04:04.keeps going. It's just one thrill after another.
:04:04. > :04:08.Can I talk to you about some of the tracks on the album? Yes, you may.
:04:08. > :04:14.The obvious one to start with is GoodDay Today. It's not about
:04:14. > :04:24.something having a great day is it? No, it's a desire for a good day.
:04:24. > :04:34.
:04:34. > :04:37.# I want to have a good day today # Good day today... #
:04:37. > :04:40.The atmosphere is slightly dark and creepy in certain elements. There
:04:40. > :04:46.is a song which mentions maybe a bit of stalking. Is that the mood
:04:46. > :04:51.that you have when you make it or, does it just come out like that
:04:51. > :04:59.one where you talk about stalking is like the feel of that thing came
:04:59. > :05:06.about because that particular night, the guitar just had a different
:05:06. > :05:10.sound. It was incredible. I barely touched this thing and it just
:05:10. > :05:16.started singing. And I really like some of these little notes and the
:05:16. > :05:21.way it is in there. Then it's called Speed Roadster. The guitar
:05:21. > :05:31.started sounding like a roadster and gave birth to the lyrics.
:05:31. > :05:34.
:05:34. > :05:39.call your phone # You weren't talking
:05:39. > :05:43.# I kissed your face # Sort of soft... # Even if lyrics
:05:43. > :05:46.come, it's kind of an intuitive thing. It's not even... They just
:05:46. > :05:51.start coming, you know, it's like where do they come from, you don't
:05:51. > :05:53.know, they just come in, like a visitor and you want to make give
:05:54. > :05:59.the lyrics some coffee, I don't know. It makious very happy when
:05:59. > :06:03.they come visit. You grew up around the birth of pop music. The birth
:06:04. > :06:11.of rock'n'roll, they didn't call it pop. There were pops kls, but there
:06:11. > :06:19.was no pop music -- popsicle. All of a sudden, everything changed. I
:06:19. > :06:29.just remember being like thrilled beyond the beyond that this music
:06:29. > :06:42.
:06:42. > :06:47.is talking to you in a great, great, # I went down to the football game
:06:47. > :06:53.# I went down to the football game... #
:06:53. > :06:56.Also, you said in the past that pop music, I'm using the word pop music,
:06:56. > :07:00.I mean good music as well as bad. Sure. It's something that inspired
:07:00. > :07:05.you, would you ever hear a piece of music and think, I need a film to
:07:05. > :07:12.go with that, do you start with the music to go with the film? Yes,
:07:12. > :07:17.Blue Velvet was that, Bobby Vincent's song came out in 61 or 62.
:07:17. > :07:24.When I heard it then it wasn't rocking my boat. But, later I heard
:07:25. > :07:33.it and, for some reason, hearing it - I've said it a bunch of times - I
:07:33. > :07:40.see red lips, night, green lawns going into dark and a car. It just
:07:40. > :07:50.started making a dream that led to all these ideas coming for Blue
:07:50. > :07:52.
:07:52. > :08:02.Velvet. # She work blue velvet # Bluer than velvet was the night
:08:02. > :08:04.
:08:04. > :08:08.# Softer than satin was the light... There's a lot, often in your films
:08:09. > :08:12.of kind of performance. There's a point where there is a performance,
:08:12. > :08:16.where you see quite often theatre curtains opening and something
:08:16. > :08:20.happening. I was wondering how you yourself were thinking of
:08:20. > :08:26.performing your album? I won't be performing my album.
:08:26. > :08:33.boo! Yeah. But I would love... I've only done one thing on stage, but
:08:33. > :08:37.for some reason, I love the stage, I love curtains, I love the idea of
:08:37. > :08:41.curtains opening, because it seems like we get to go into another
:08:41. > :08:46.world. Curtains hide something. Then when they open, if it's dark,
:08:47. > :08:51.and we are moving in, it's just like about kills me it's so
:08:51. > :08:57.beautiful. Do you ever lose your confidence? Erm, it's not a
:08:57. > :09:03.question of confidence. It's ideas. So you say like sometimes writers
:09:03. > :09:07.they say have writer block. The ideas are not coming. That, for me,
:09:07. > :09:14.is the main reason, well not the main reason, but a very huge reason
:09:14. > :09:17.why I meditate. The ideas flow more freely. It's this negativity that
:09:17. > :09:24.kills the flow. It's just the squeezing of the tube. The little
:09:24. > :09:27.ideas can't get through. They want to help you. Poor ideas! Yes. But
:09:27. > :09:32.then whoa, they just flow through like these beautiful little fish
:09:32. > :09:42.and they come in and you catch them. So confidence is nothing to do with
:09:42. > :09:42.
:09:42. > :09:46.it? No. No. And David Lynch's new album Crazy Clown Time is released
:09:46. > :09:49.on November 8th. To a literary great now, this week sees the
:09:49. > :09:53.launch of a book by a man whose life story was every bit as
:09:53. > :10:03.remarkable as any novel. We sent Professor of English, John Mullan
:10:03. > :10:03.
:10:03. > :10:07.to investigate the latest work by this Russian master.
:10:07. > :10:12.He was known as the conscience of Russia, but Aleksandr Solzhenitsyn
:10:12. > :10:19.was also one of the greatest writers of modern times. And he
:10:19. > :10:24.hainged history by exposing the horrors of the sta inist regime --
:10:24. > :10:28.changed history by exposing the horrors of the Stalinist regime.
:10:28. > :10:33.Solzhenitsyn's books couldn't be printed in the Soviet Union, but
:10:33. > :10:43.were read eagerly outside his land. He made his name with his 1962
:10:43. > :10:55.
:10:55. > :11:00.novel, one die in the life of Ivan Solzhenitsyn's writing brought him
:11:00. > :11:04.worldwide critical acclaim, and in 1970, he was awarded the Nobel
:11:04. > :11:10.Prize for Literature. But the political climate had changed and
:11:10. > :11:16.he had already been silenced in his own land.
:11:16. > :11:20.In 1973, the KGB seized his manuscript of the Gulag archipelago,
:11:20. > :11:24.his painstaking searing history of the Soviet system of political
:11:24. > :11:28.imprisonment. He was denounced as a traitor in his own country. A year
:11:28. > :11:35.later, he was stripped of his citizenship and De ported to the
:11:35. > :11:39.west. He spent 20 years in exile, living as a virtual recluse.
:11:39. > :11:46.After the collapse of the Soviet Union, Solzhenitsyn made an epic
:11:46. > :11:55.journey back to Russia to a here row's welcome. - hero's welcome. It
:11:55. > :11:59.was here he stayed until his death. It's now been three years since
:11:59. > :12:04.Solzhenitsyn died and a collection of his short stories, Apricot Jam,
:12:04. > :12:09.already known in Russia, has finally been published for an
:12:09. > :12:13.English-speaking audience. Supper for the reserve regiment was
:12:13. > :12:18.served at six in the evening, even though lights out did not come
:12:18. > :12:28.until ten. Someone had correctly figured that the men would get by
:12:28. > :12:28.
:12:28. > :12:31.without any more food that way and would sleep through until morning.
:12:31. > :12:37.Stephan, you're Aleksandr Solzhenitsyn's son but the
:12:37. > :12:41.translator also of one of the stories in this new collection. Was
:12:41. > :12:45.that an emotional commitment, as well as a demanding literary job?
:12:46. > :12:50.It is both. It is of course both. The care you need to put into it,
:12:50. > :12:53.the emotional investment is of course much greater. I had a very
:12:53. > :12:58.big advantage. If I didn't understand something or if I wanted
:12:58. > :13:01.to ask about a nuance, I could just go ask dad. I could say what
:13:01. > :13:05.exactly does this mean or is it more like this or is it more like
:13:05. > :13:09.that, you know, we could discuss it. Usually translators never get that
:13:09. > :13:12.level of access, so I was very luck write there. Must have been
:13:12. > :13:16.particularly demanding with your father's fiction as well, because
:13:16. > :13:21.language mattered very much to him and the pressures that language was
:13:22. > :13:26.put under, especially under the Soviet system? He was a master of
:13:26. > :13:31.language and a lover of language. A lover of the Russian language,
:13:31. > :13:39.absolutely. Translation is tough, translation of Solzhenitsyn is even
:13:39. > :13:44.tougher because it's like digesting extremely nutritious very, very
:13:44. > :13:54.robust porridge, right, there's a lot to work through. It's very good
:13:54. > :13:56.
:13:56. > :13:59.stuff. Now this, he said, dripping some of the thick apricot jam on to
:13:59. > :14:05.a spoon, this very amber transparency, this surprising
:14:05. > :14:10.colour and light should be present in the literary language as well.
:14:10. > :14:20.And indeed, every singsle apricot lay like a condensed fragment of
:14:20. > :14:20.
:14:20. > :14:25.sun light in a crystal ball. What's distinctive about these stories,
:14:25. > :14:30.this new collection? They form a body of work that you could not
:14:30. > :14:40.have written without his return to Russia. He didn't sense it possible
:14:40. > :14:42.
:14:42. > :14:47.to actually write them living in the West. He needed to be fed off
:14:47. > :14:52.the Russians. Things seemed to be rooted in his memory of experiences.
:14:53. > :14:57.For instance, two wartime stories, actually? Absolutely. Detail was so
:14:57. > :15:04.important for him and the detailed diaries of the war he kept were
:15:04. > :15:08.burned immediately upon his arrest in 1945. He said that basically
:15:09. > :15:13.it's like his memory of the war was killed with him. The details were
:15:13. > :15:18.not crisp enough in his memory until he actually met some of his
:15:18. > :15:23.mates from his unit who helped fill in some of the key details that
:15:23. > :15:29.inspired him to return to the military theme. So in this little
:15:29. > :15:38.volume, about half of what he ever wrote about World War II, is all
:15:38. > :15:42.In the dim light, the lieutenant scans the faces of his fighting men.
:15:42. > :15:49.Their expressions were gloomy, complex, biting their lips, eyes
:15:49. > :15:54.down, to the side, but outright repentance? No. He did not see that
:15:54. > :15:59.on any of their faces. What is this coming to? If we go stealing
:15:59. > :16:04.government property, how are we going to win the wall? Dark and
:16:04. > :16:12.impenetrable they stood, yet this is with whom we march, to victory
:16:12. > :16:16.or defeat. What would you say now to those readers who might say that
:16:16. > :16:21.the terrible history that made your father has gone and that his
:16:21. > :16:28.writing belongs with the history that has gone? I would say they
:16:28. > :16:34.have got it a bit wrong. He was a writer and therefore he will always
:16:34. > :16:40.come to be understood as a writer. That means that generations will
:16:40. > :16:45.continue to read him and what exactly happened in one year or
:16:45. > :16:54.another year won't matter so much. The power off his literature,
:16:54. > :16:58.however, will matter. In this new collection, Solzhenitsyn's fierce
:16:58. > :17:03.and prophetic voice comes to us from beyond the grave, telling us
:17:03. > :17:08.again about the dark history of his times. This history may now not
:17:08. > :17:15.matter so much to us in the West. These stories tell us that it
:17:15. > :17:23.should. And Apricot Jam and Other Stories
:17:23. > :17:27.is published by Canongate on November 3rd. While we're on books,
:17:27. > :17:34.World Book Night announced the list of 25 books to be handed out in
:17:34. > :17:38.April next year. You can check that out on their website. But now from
:17:38. > :17:43.the storytellers of the past to a vision of the future, as Wookey
:17:44. > :17:48.feed -- Wikipedia found a Jimmy Wales tells Aleks Krotoski waif he
:17:48. > :17:52.thinks the internet will continue to change our lights.
:17:52. > :18:01.One man's vision of how we access and edit information online has
:18:01. > :18:05.become a global phenomenon. He grew up in Huntsville, Alabama, deep in
:18:05. > :18:09.the American South, and for years he wrote computer code in his spare
:18:09. > :18:13.time before quitting his job in finance to become a full-time
:18:13. > :18:23.internet entrepreneur. His name is Jimmy Wales. His creation:
:18:23. > :18:26.
:18:27. > :18:31.Wikipedia. Wikipedia has 20 million articles available in 222 languages,
:18:31. > :18:35.with 422 million people visiting the website each month, so it seems
:18:35. > :18:42.fitting that Jimmy Wales will be the keynote speaker at this year's
:18:42. > :18:46.Free-Thinking Festival, which celebrates ideas. The topics for
:18:46. > :18:52.2011 is changed. The festival is taking place at the Sage Gateshead,
:18:52. > :18:58.a suitably futuristic looking crucible for new and innovative
:18:58. > :19:01.ideas. We have seen so much change that has been attributed to the Web
:19:01. > :19:08.recently. What do you think the next change is that would involve?
:19:08. > :19:11.I think there are some exciting things coming. Two billion people
:19:11. > :19:15.online and in the next five to ten years, maybe another two billion
:19:15. > :19:21.people will come online and they are not coming from Europe, Japan,
:19:21. > :19:26.the US, they are coming from China and India, even Africa. That is
:19:26. > :19:30.driving a huge upsurge in the number of people connected,
:19:30. > :19:36.particularly in the cities. Because people sure what is interesting,
:19:36. > :19:40.all kinds of cool cultural influences will be flowing back and
:19:40. > :19:45.forth. I think it will be really big. What do you imagine will
:19:45. > :19:50.change when it is not just the people in the urban areas, when
:19:50. > :19:55.they truly engage with the Web? think a lot of things will happen,
:19:55. > :20:00.particularly the country's currently that have really dreadful
:20:00. > :20:03.governments, whether people have had not much hope of positive
:20:03. > :20:08.change and they will begin to see what has gone on in other places
:20:08. > :20:13.around the world and to realise that actually, we don't have to put
:20:13. > :20:22.up with collector crackeds any more, we don't need to have a strong man
:20:22. > :20:25.system of government -- with clipped opera. What do you imagine
:20:25. > :20:29.will happen, not just when everybody else has access but after
:20:29. > :20:35.they have had access for a while and their influences come back on
:20:35. > :20:40.us? What will happen? It is really interesting. I think China is one
:20:40. > :20:44.of my favourite examples. When Liu Xiaobo won the Nobel Peace Prize
:20:44. > :20:47.from China and China it refused to let him travel to receive the award,
:20:47. > :20:52.they put an empty chair on the stage to symbolise that he had not
:20:52. > :20:58.been allowed to come to receive the award and all across China, any
:20:58. > :21:02.mention of his name automatically gets the page filtered, so people
:21:02. > :21:07.were changing their profile picture, maybe not to the real empty chair
:21:07. > :21:11.but to any empty chair just to show, this is ridiculous, I know about
:21:11. > :21:14.this, right? When you get a group of people like this who are
:21:14. > :21:20.beginning to feel their own strength in those subtle ways, it
:21:20. > :21:24.is only a matter of time before they go, you guys at the top are
:21:24. > :21:33.part of the problem and we are going to have massive protests, we
:21:33. > :21:38.are going to change China. Jimmy's belief in the power of technology
:21:38. > :21:42.to help create positive change can be traced back to his childhood.
:21:42. > :21:51.The area he is from was a rural backwater until NASA moved in in
:21:51. > :21:57.the early 1960s. # Sweet Home Alabama #.
:21:57. > :22:04.The place where you grew up, Huntsville Alabama, also known as
:22:04. > :22:12.Rocket City. That is cool. How much of that experience contributed to
:22:12. > :22:17.your creating technology? Absolutely a lot. Certainly, I have
:22:17. > :22:21.memories from being a child of windows rattling as they were
:22:21. > :22:26.testing the rockets and you knew what they were working on, going to
:22:26. > :22:30.the moon. Amazing. There was a sense of optimism. Technology
:22:30. > :22:36.changing the world for the better. That spirit I think is implicit on
:22:36. > :22:42.all of my work, it is who I am and where I came from. The idea of the
:22:42. > :22:46.internet as a force for positive change, it is the real "beauty is
:22:47. > :22:52.in the eye of the beholder" statement. There are limitations to
:22:52. > :22:57.that? I don't think so. For me it is almost completely overwhelmingly
:22:57. > :23:00.obvious that it is a tool for change. I was in Taiwan, and one of
:23:00. > :23:05.the local Wikipedia volunteers offered to drive me around and he
:23:05. > :23:09.said he was raised in a very nationalist household and that they
:23:09. > :23:12.really hated mainland Communist China and he had been raised to
:23:12. > :23:16.believe that the mainland Chinese were completely brainwashed and
:23:16. > :23:20.then he said he started working at Wikipedia and he said, I still
:23:20. > :23:25.think they are wrong at certain things but I can see that a kind of
:23:25. > :23:31.have a point. You see that sort of thing, helpful in reducing tensions,
:23:31. > :23:36.in reducing the ability of militias politicians working people into a
:23:36. > :23:39.frenzy to go and fight someone. Every war in the entire world
:23:39. > :23:44.becomes in a sense of civil war because we have all become closer
:23:44. > :23:48.to each other. I see this Utopian visions stretching ahead of us. I
:23:48. > :23:53.am thrilled people are like you in the world who think the internet
:23:53. > :23:58.will bring us all a global group hug but I do not see that happening.
:23:58. > :24:06.I am not a Utopian, I am a very optimistic person but I think that
:24:06. > :24:09.none of these things happen automatically. Nothing about
:24:09. > :24:13.technology in a tacit -- necessitates certain outcomes but
:24:13. > :24:19.there is a great opportunity for minimising war, having a lot less
:24:19. > :24:23.of it. I am an optimist! Thank you very much, Jimmy. Thank you for
:24:23. > :24:26.having me. And Jimmy Wales will be delivering
:24:26. > :24:33.his keynote speech on change at The Sage Gateshead next Friday, which
:24:33. > :24:37.will be broadcast on BBC Radio 3. Still to come, we have brilliant
:24:37. > :24:42.photographic records of the Scott- Shackleton polar expeditions,
:24:42. > :24:47.Michael Smith's search for the cultural high as a Birmingham and
:24:47. > :24:51.Mark Kermode's journey to the sad truths of sex addiction in the new
:24:51. > :24:56.film, Shame. But first it is all about repairing the damage and the
:24:56. > :25:01.final category of the Heritage Angel Awards. This week Simon
:25:01. > :25:06.Thurley looks at the four eclectic buildings competing inherited at
:25:06. > :25:11.risk award category. Not many people today would
:25:11. > :25:14.consider a cemetery a fashionable place to go, but in its heyday
:25:14. > :25:20.Arnos Vale Cemetery in Bristol was the fashionable place to be seen.
:25:20. > :25:25.It was also the fashionable place to be buried. The huge fortify they
:25:25. > :25:31.get necropolis was opened in 1839, just two years after Queen Victoria
:25:31. > :25:38.came to the throne -- 45 acre. It is not surprising it was dubbed a
:25:38. > :25:42.necropolis. Over 300,000 people were buried here, from mayors,
:25:42. > :25:48.industrialists to railway workers, but that is what makes this place
:25:48. > :25:52.so special. It contains a complete cross-section of Victorian society.
:25:52. > :25:57.When, in the 1990s, the private owners announced that they intended
:25:57. > :26:02.to close Arnos Vale Cemetery and build 400 new houses on the site,
:26:02. > :26:06.locals rallied round and petitioned to the council. The plan was to
:26:06. > :26:12.remove the monumental masonry and to do mass exhumation.
:26:12. > :26:17.dreadful! It was dreadful. At that time my father had passed away and
:26:17. > :26:21.he was buried here and there was no way I was going to let that happen.
:26:21. > :26:27.And your husband Richard has sadly subsequently died. Yes, he's still
:26:28. > :26:33.here, yes. All that energy you have put into here and your husband's
:26:33. > :26:38.devotion to it, this place must mean a great deal to you. Yes, it
:26:38. > :26:48.always has. Sometimes it is hard to come here on my own. But there is
:26:48. > :26:50.
:26:50. > :26:56.no way I will not come because my Victorian memorials to the dead
:26:56. > :26:59.come in many shapes and sizes. Nestling in the picturesque village
:26:59. > :27:09.of the Staffordshire peaks is one man's memorial to his dearly
:27:09. > :27:09.
:27:09. > :27:13.beloved wife. The I'm a memorial cross was built in 1841 by a
:27:13. > :27:19.wealthy industrialist, J C Watts Russell, in memory of his wife who
:27:19. > :27:25.died suddenly aged just 48. Years of weathering saw the cross fall
:27:25. > :27:29.into serious disrepair and the job of restoring it fell to Ian Ward, a
:27:29. > :27:35.master mason on the regeneration project. Some of the figures were
:27:35. > :27:40.very badly eroded so they were re- card. There were six Angel figures
:27:40. > :27:45.and they are all slightly different, they have a melancholy quality,
:27:45. > :27:54.especially in their distress sway. Absolutely beautiful things. They
:27:54. > :28:00.are like guardian angels watching over the village. The third
:28:00. > :28:07.building competing for the award is the deconsecrated church of St
:28:07. > :28:13.Stephen's, Rosslyn Hill, in London's leafy Hampstead. It is
:28:13. > :28:19.architect -- the architect's masterpiece and is often referred
:28:19. > :28:25.to as his mighty jet. And no wonder. It was his most expensive
:28:25. > :28:35.Commission -- is mighty church. It cost �27,000, an astronomical sum
:28:35. > :28:38.
:28:38. > :28:46.in 1869. Toulan, he was a rogue, a group of Victorian architects who
:28:46. > :28:52.tore up the rule book, who mixed and matched their starts. We have
:28:52. > :28:57.both Fantine brickwork, French Gothic, English Gothic and
:28:57. > :29:01.Renaissance thrown in for good measure -- by Santino. I think it
:29:01. > :29:08.is like a Ragnar, you'll love it or you hate it, and we fell in love
:29:08. > :29:13.with it. It had been derelict for 20 years. The floor was a rotting
:29:13. > :29:21.in places. It looked like the black hole of Calcutta. There was 60 tons
:29:21. > :29:24.of garbage from squatters. Thanks to Michael Taylor and his wife, the
:29:24. > :29:28.head of a small prep school attached to the church, St
:29:28. > :29:32.Stephen's has been given a new lease of life. Most of the schemes
:29:32. > :29:36.that had been put forward over the 20 years of dereliction wanted to
:29:36. > :29:40.make large structural intrusion into the main body of the building.
:29:40. > :29:44.We came up with the idea of extending the existing undercroft
:29:44. > :29:47.so that another branch of the school could move into it and that
:29:47. > :29:51.has left the main body of the building as you see it in all its
:29:52. > :29:56.former glory. I know the local community, many of whom have given
:29:56. > :30:01.money, are very pleased with what we have done. I am told by people
:30:01. > :30:11.who pass by in the street, Mr Taylor, isn't it wonderful to see
:30:11. > :30:11.
:30:12. > :30:15.the children bringing life back to The final building on the short
:30:15. > :30:21.list is the Dome Cinema in the Sussex coastal town of Worthing
:30:21. > :30:27.which has hardly changed since it was built in 1911 as a plush
:30:27. > :30:31.picture palace. It was very glamorous. People would
:30:31. > :30:36.have entered through the double doors, having bought their tickets
:30:36. > :30:40.at this wonderful pay kiosk, swept up the Titanic staircase and down
:30:40. > :30:45.into the auditorium and it was so romantic. People loved that, you
:30:45. > :30:50.know, the fact that they were sitting in this wonderful dark
:30:50. > :30:53.auditorium with this marvellous magical atmosphere watching a film
:30:53. > :30:56.which was accompanied by an orchestra.
:30:56. > :31:01.We had queues all around the building for the Big Philments we
:31:01. > :31:06.managed to get. Every house was packed up. You just couldn't get in,
:31:06. > :31:09.because the films were in quite short supply in England just after
:31:09. > :31:15.the war. John Whittington was a teenager when he started working at
:31:15. > :31:20.the Worthing Dome in 1945 as a projectionist. If the film broke,
:31:20. > :31:24.the audience used to bring alarm clocks and let them off, and apart
:31:24. > :31:27.from the shouting and that, you could hear all the alarm clocks
:31:27. > :31:31.going off. That was quite fun, really.
:31:31. > :31:37.Not for us, because we were trying to fix the film, but it was good
:31:37. > :31:41.fun. Next week, we'll reveal who all the
:31:41. > :31:47.winners are at the Heritage Angel Award z ceremony in London. But
:31:47. > :31:51.next tonight, it's been 100 years since Captain Scott ice ill-fated
:31:51. > :31:53.expedition to the Antarctic. To mark that centenary, there's a new
:31:53. > :31:57.photographic exhibition at the Queen's Gallery charting his
:31:57. > :32:02.exploits and those of the slightly later polar explorer Ernest
:32:02. > :32:07.Shackleton. I met up with modern explorer Sir Ranulph Fiennes to try
:32:07. > :32:17.to understand the unswerving pioneering spirit that drove those
:32:17. > :32:26.
:32:26. > :32:32.It can be easy to forget that there was once a world the ends of which
:32:32. > :32:38.were undiscovered, untouched by the cloud of technology and endeavour,
:32:38. > :32:42.tantalisingly unglimpsed by mankind. That was the world that men like
:32:42. > :32:46.Robert falcon-Scott and Ernest Shackleton set out to conquer. Now,
:32:46. > :32:50.it might almost seek lick stating the obvious to say that the poles
:32:50. > :32:55.of the earth can be traversed, of course we can do it. Those extremes
:32:55. > :33:05.can be withstood. We've got maps, GPS, we know it can be done. But,
:33:05. > :33:09.100 years ago, that was far less certain.
:33:09. > :33:11.It's thanks to photographers Herbert Ponting who accompanied
:33:11. > :33:16.Scott and Frank Hurley who travelled with Shackleton that
:33:16. > :33:21.proof of these explorations exist. They brought these images back from
:33:21. > :33:25.the edge of the world. Finding an uncanny grandeur and forms like
:33:25. > :33:29.abstract sculpture many the Antarctic's ice scape. But they're
:33:29. > :33:34.also about a human achievement, only surpassed when man walked on
:33:34. > :33:38.the moon. Sophie, I'm amazingly struck by
:33:38. > :33:44.Frank Hurley's photographs of the Shackleton expedition, in
:33:44. > :33:49.particular this amazing sequence of pictures where he charts step by
:33:49. > :33:53.step the crashing of their boat by the ice? They're extraordinary
:33:53. > :33:57.aren't they? It really shows how determined Hurley was to capture
:33:57. > :34:00.the story of the expedition once it had gone wrong and it unfolded. He
:34:00. > :34:04.wanted to be there on the ice the whole time, so once the ship
:34:04. > :34:08.started to become crushed, he spent about three days out on the ice. He
:34:08. > :34:12.just was determined not to miss a single moment of the sequence of
:34:12. > :34:18.events as the ship slowly disappeared beneath the ice. It's
:34:18. > :34:23.grizzly, almost like a still camera version of a movie. A disaster
:34:23. > :34:25.movie. Yes, and that's what I can't get over, I suppose, the fact that
:34:25. > :34:30.it's as if he might be photographing his own death because,
:34:30. > :34:34.with the loss of the boat, things don't look very good? We come with
:34:34. > :34:37.the knowledge of what eventually happened and the fact that they all
:34:37. > :34:42.survived. Of course, Hurley and the men at that time were watching
:34:42. > :34:44.their only way home slowly disappear under the ice. It was
:34:44. > :34:54.really quite extraordinary that he had the presence of mind to be
:34:54. > :34:55.
:34:55. > :34:59.there to record all of this. Am I right in thinking that, as the
:34:59. > :35:04.expedition got into deeper and deeper trouble, he had to make some
:35:04. > :35:08.very, very tough editorial decisions? He did. There was the
:35:08. > :35:11.moment when they'd taken everything off the ship and the ship had been
:35:11. > :35:15.crushed that they realised they were going to have to get into the
:35:16. > :35:20.lifeboats in order to find land. That meant they were limited in
:35:20. > :35:24.what they could take and the glass plates that Hurley was producing
:35:24. > :35:28.was incredibly heavy. From about 500 negatives he'd already made, he
:35:28. > :35:35.had to narrow it down to a selection of about 120. So, he sits
:35:35. > :35:42.there, with Shackleton, and say s yes, we'll keep that, no, we won't
:35:42. > :35:45.keep that one. The ones they decide not to keep, they smash because
:35:45. > :35:51.Hurley might have wanted to run back for them. Don't put temptation
:35:51. > :35:56.in the way? Chactly. -- exactly. It's apparent that when they are in
:35:56. > :36:02.the lifeboats and have to lose more weight in order to keep going. They
:36:02. > :36:06.make the decision to throw the food overboard in order to keep the
:36:06. > :36:09.films and the cameras, so it really shows how important they are.
:36:09. > :36:13.Looking at the photographs, it's daunting to consider the conditions
:36:13. > :36:16.Ponting and Hurley endured to take them. A man who survived the
:36:16. > :36:20.extremes is Sir Ranulph Fiennes. He talked me through the earlier
:36:20. > :36:22.doomed expedition of Captain Scott who hoped to be the first to reach
:36:22. > :36:30.the South Pole. Little did he know that another
:36:31. > :36:36.party from Norway were already on their way.
:36:36. > :36:41.When they set out from New Zealand, we met one of his stokers, Stoker
:36:41. > :36:45.Burton was his name. He was in his '80s, but he was on Scott's
:36:45. > :36:50.expedition and there he was live living in New Zealand. That is
:36:50. > :36:54.amazing. Yes, it's 70 years later, but it's within living memory.
:36:54. > :37:00.is it like travelling on a boat like that, on a sea like that,
:37:00. > :37:04.because it looks absolutely vatiginous? Ponting was stramed
:37:04. > :37:11.with his camera on the rigging which might have been sea-sick
:37:11. > :37:14.making. -- strapped with his camera. There were unpleasant days and I
:37:15. > :37:19.took a lot of pills and stuck on a lot of patches which Scott wouldn't
:37:20. > :37:23.have been able to do. That looks like a cold, harsh sea? You don't
:37:23. > :37:27.want to make mistakes with the cold. If you are on a hot desert
:37:27. > :37:31.expedition, you can learn by your mistakes. You don't learn by your
:37:31. > :37:34.mistakes. I've lost a load of fingers in that side in one three-
:37:34. > :37:40.minute mistake. You can see how much finger got lost. That was just
:37:40. > :37:44.three minutes because I travelled at a dangerous time and my sledge
:37:44. > :37:47.with all my safety gear fell in. It was minus 46, the ice was breaking
:37:47. > :37:51.up everywhere and the only way I could get the sledge back out of
:37:51. > :37:56.the sea was to put one hand in and then of course it got cold and
:37:56. > :38:01.within the three minutes, there was no life left in these fingers, so
:38:01. > :38:05.you have a nightmarish situation caused by an initial error.
:38:05. > :38:11.I find these pictures in particular quite haunting because they're
:38:11. > :38:16.taken, of course, by the explorers themselves. Yes. So we know that
:38:16. > :38:21.those plates, for those pictures, were actually recovered with their
:38:21. > :38:25.bodies. You can sense that they feel gutted that they found the
:38:25. > :38:29.tent, the flag, they realised that the Norwegians got there first. Do
:38:29. > :38:32.you think that was De moralising for them? It would have been for
:38:32. > :38:39.anybody. But it wouldn't have stopped their will to survive and
:38:39. > :38:43.to get back would have taken over their disappointment to not have
:38:43. > :38:48.gotten there first. Sadly it wasn't enough. Scott and the team were
:38:48. > :38:54.trapped by an apoll lick tick blizzard 11 miles from salvation
:38:55. > :38:59.where they eventually succumbed to the Antarctic cold. These were
:38:59. > :39:04.raised over their bodies, entombing them in the ice forever.
:39:04. > :39:10.Then it comes to the last room of all. I suppose that's the great
:39:10. > :39:14.relbic, I suppose, the flag he actually planted -- relic. It lay
:39:14. > :39:18.with the dead bodies for eight months. When they discovered the
:39:18. > :39:22.death tent, there was only about ten inches of it sticking above the
:39:22. > :39:25.snow drifts, so they'd arrived there a week later, the tent would
:39:25. > :39:29.have disappeared, the diaries, the flag, everything else and the
:39:29. > :39:34.bodies would never have been found, nobody would have known anything
:39:34. > :39:39.about what happened to the expedition. He was found with his
:39:39. > :39:44.two great friends lying dead on either side of him. They died quite
:39:44. > :39:48.a few days before he did, so he lingered on and somehow managed to
:39:48. > :39:58.write his diary until within four or five days of his death. It
:39:58. > :39:58.
:39:58. > :40:04.wouldn't have been a good way to go. And that exhibition, the Heart of
:40:04. > :40:09.the great Alone opened on 2 October and continues until 22nd April next
:40:09. > :40:12.year. In a similarly intrepid spirit, we sent Michael Smythe to
:40:12. > :40:19.explore the cultural landscape of Birmingham.
:40:19. > :40:23.Recently voted the most boring city in all of Europe!
:40:23. > :40:28.Birmingham's a blank in my mind, a blind spot in the heart of Middle
:40:28. > :40:32.England. It's been voted the most boring city in Europe by trip
:40:32. > :40:36.advisor's travel website, shunned by the Lonely Planet guide books
:40:36. > :40:41.and has even lost out to Londonderry for the coveted title
:40:41. > :40:44.of City of Culture. There's a restless and unsettled quality
:40:44. > :40:49.about Birmingham, like the place has never really worked out what it
:40:49. > :40:53.is. It's a bewildering place for a visitor, it's messy, formless
:40:53. > :40:59.confusion of different styles. You get the Industrial Revolution torn
:40:59. > :41:05.down to make way for '60s brutalist high-rise and motorways. Then that
:41:05. > :41:08.failed future gets torn down to make way for this bland and sterile
:41:08. > :41:15.millennium architecture. The soul's been squeezed out of the
:41:15. > :41:18.centre of Birmingham. Even artist Gillian Wareing's new project to
:41:18. > :41:22.find a family to be the face of the city is currently being exhibited
:41:23. > :41:27.in this corporate hotel. When it's done, the bronze sculpture of the
:41:27. > :41:35.family will be plonked outside yet another new building, the generic
:41:35. > :41:41.box of the library. Bored tourists would never find it,
:41:41. > :41:51.but escape the oppressive blandness and find art hidden away in the
:41:51. > :41:54.dilapidated buildings just east of the city centre. Abandoned Curzon
:41:54. > :41:58.Street Station has been taken over by some very strange machines.
:41:58. > :42:03.The artists have responded to the space with places inspired by
:42:03. > :42:11.trains, machines and the mechanical process. Tape cassette recorders
:42:11. > :42:14.wear and clunk, machines project cosmic light and old camera lenses
:42:14. > :42:22.frame. The exhibition chimes perfectly with the industrial
:42:22. > :42:27.messiness of the city. Messiness is in Birmingham's DNA, once known as
:42:27. > :42:33.the city of a thousand trades and teamed with small scape workshops.
:42:33. > :42:37.This area was the Crucible of Birmingham where the confusion of
:42:37. > :42:41.workshops clustered. The 20th century version of this are the
:42:41. > :42:47.small artist studios gathered teeth by Jowell with the remaining
:42:47. > :42:51.industry. There's loads of art pieces tucked
:42:51. > :42:56.away here. This is a piece of graffiti commissioned by a local
:42:56. > :42:59.gallery and it's activated when you touch these two points. The sounds
:42:59. > :43:05.all come from the motorcycle repair shop next door and it's interesting
:43:05. > :43:14.to think the sounds of the city that inspired heavy metal are also
:43:14. > :43:24.inspiring works like these. The East side projects run one of the
:43:24. > :43:29.
:43:29. > :43:34.bigst galleries here. It opened Brummy sausage art! So Birmingham's
:43:34. > :43:37.been voted the most boring city in Europe for a few years running. Why
:43:37. > :43:41.do you think it still has that reputation with all this going on?
:43:41. > :43:45.Well, I mean, I don't know, partly maybe if you ask a stupid question
:43:45. > :43:49.you get a stupid answer, but it's a pain in the cars that Birmingham is
:43:49. > :43:53.the stupid answer. I left Birmingham when I was a kid because
:43:53. > :43:57.I didn't think it was interesting, I thought it was boring but I moved
:43:57. > :44:01.back five years ago because I think it's something else now. What is
:44:01. > :44:04.distinctive about Birmingham's art scene? What I thought was weird
:44:04. > :44:08.about the city in a way is, it's such a massive city and never
:44:08. > :44:12.really had an art scene, so we try and learn from something like
:44:12. > :44:18.Glasgow, we've learned from scenes, scenes arise in Manchester or
:44:18. > :44:27.Newcastle. I think we can be really ambitious because it could grow in
:44:27. > :44:33.principle. The city could support a massive art scene.
:44:33. > :44:36.The creative enclave here seems in tune with the self--efacing and
:44:36. > :44:39.independent Brummy spirit. For a second city, there's always been
:44:39. > :44:43.something strangely humble about it, just quietly getting on with things
:44:43. > :44:48.and not feeling the need to shout about itself.
:44:48. > :44:53.To me, this area feels like a grass roots DIY ant dote to all that's
:44:53. > :45:00.gone wrong in the city centre. You've just got to know where to
:45:00. > :45:04.look. Hiya. Hi, you all right? Totally intriguing this project,
:45:04. > :45:10.Pigeon project. Is it a strong Brummy tradition? Yes, Birmingham
:45:10. > :45:15.and the Black Country. Within a three mile radius here, there's 45
:45:15. > :45:20.competitive pigeon flyers. Do you race them? Yes, in a local pigeon
:45:20. > :45:25.club. There's also a lot of local artists and galleries that sponsor
:45:25. > :45:29.pigeons as part of our syndicate. How do you make art with pigeons?
:45:29. > :45:33.curated an exhibition for which the pigeons carried art works from
:45:33. > :45:38.different low cases across the country in different artist studios
:45:38. > :45:42.carrying little message tunes and USB sticks with videos on and GPS
:45:42. > :45:47.systems and the pigeons clifred the art work. So the exhibition was in
:45:47. > :45:50.their pigeon lofts -- delivered the art work. Do you think Birmingham
:45:50. > :45:53.and the art scene is distinctive? Is it unusual? Yes, definitely
:45:53. > :45:57.exciting and edgy. You can do things in Birmingham that I don't
:45:57. > :46:01.think you would be able to do in other parts of the country. I could
:46:01. > :46:06.never imagine keeping pigeons under a viaduct in the centre of London.
:46:07. > :46:16.Can I see a pigeon? Yes, I'll get you one of the pile Errolers. It
:46:17. > :46:24.
:46:24. > :46:28.does backflips along the floor and We are five minutes from the city
:46:28. > :46:33.centre but we may as well be in a different kettle world. It is
:46:33. > :46:36.ridiculous to say that Birmingham is the most boring city in Europe.
:46:36. > :46:40.Birmingham is boring if you are boring, but if you don't want your
:46:40. > :46:47.culture spoon-fed, if you are adventurous and wedding to go off
:46:47. > :46:52.the beaten track, it is all here and waiting for you to discover it.
:46:52. > :46:56.Now we join Alex Renton, who went to Armenia with Oxfam up to report
:46:56. > :46:59.on the food crisis, where five years ago almost a quarter of the
:46:59. > :47:05.population were undernourished, with half of that figure living on
:47:05. > :47:08.less than $2 a day. The result is a series of photographs of empty
:47:08. > :47:18.kitchens to sit alongside the shocking statistics, illustrating
:47:18. > :47:19.
:47:19. > :47:24.I find kitchens moving and revealing. They can often tell you
:47:24. > :47:28.much more about the people who live in them than looking at their
:47:28. > :47:32.bookshelf or music collection can. I am a journalist, I write about
:47:33. > :47:36.development. I was keen to write about somewhere where people were
:47:36. > :47:42.newly poor and newly hungry but Armenia was particularly moving
:47:42. > :47:46.because these people, on the edge of Europe, are very easily
:47:46. > :47:51.identified with and they have gone middle class to abject poverty,
:47:51. > :47:54.African levels of poverty, in 20 years. The collapse of the Soviet
:47:54. > :47:58.Union meant subsidised wheat did not come through, climate change
:47:58. > :48:05.has made the traditional crops in these mountains harder to grow and
:48:05. > :48:08.a lot of the people are refugees who came from Azerbaijan with no
:48:08. > :48:14.skills on how to live up on the slow line and grow vegetables
:48:14. > :48:20.because they were the urban middle class. The most moving for me with
:48:20. > :48:30.these guys, the Josephians. Hasmik with her five children and her
:48:30. > :48:34.Plastic sheeting in the windows. We went into the mountains above the
:48:34. > :48:38.village and this is what Hasmik does every day to feed her children.
:48:38. > :48:42.She finds the roots and vegetables wild and this is the first green as
:48:42. > :48:49.they had seen in six months so this is exciting. In the evening she
:48:50. > :48:53.cooked us an omelette with the greens but it was one egg. The rest
:48:53. > :48:58.of the meal was some pasta, which in the traditional way they fry up
:48:58. > :49:03.till it is almost burned and then boil it, and for the children this
:49:03. > :49:08.is a treat, they gobbled it up like a roast chicken. In these countries
:49:08. > :49:13.where you have seen this very swift economic collapse, there are
:49:13. > :49:18.enormous cultural changes. People are thrown back into the lifestyles
:49:18. > :49:22.of 600, a 1,000 years ago. What interests me is that the basic
:49:22. > :49:27.principles of how you sit down with your family and get joy even if
:49:27. > :49:32.there is not enough food remains the same.
:49:32. > :49:36.While we were watching her cook, I was distracted and fascinated by
:49:36. > :49:41.the way she had arranged her cooking implements. All of them
:49:41. > :49:45.were old and battered and much loved, I think. She laid a piece of
:49:45. > :49:52.cloth against the wall so she could hang them up to drive and be ready
:49:52. > :49:57.to grab, as all of us do, and to protect the wallpaper. So after we
:49:57. > :50:03.had been in Hasmik's house, I made sure I made a few minutes in the
:50:03. > :50:09.other people's kitchens, looking at these natural still lives. And
:50:09. > :50:17.realised there was something there, an internal beauty about the way we
:50:17. > :50:22.organise our everyday objects. So I This is another lady in another
:50:22. > :50:28.village. She said she had brought these plates 20 years ago from her
:50:28. > :50:31.city when she became a refugee and preserved them. In the way they
:50:31. > :50:37.boarded their dishcloth, they arranged their pots and their much
:50:37. > :50:41.loved old saucepan, those told a story of the struggle and these
:50:41. > :50:49.terrible circumstances, the struggle to stay civilised and
:50:49. > :50:53.dignified and provide, as you must, Next we move from the kitchens of
:50:53. > :50:59.Armenia to the bedrooms and boardrooms of New York, the setting
:50:59. > :51:03.for Steve McQueen's new film, Shame. It has already picked up a Best
:51:03. > :51:08.Actor award at the Venice Film Festival Paul Michael Fassbender's
:51:08. > :51:12.performance as a sex addict and it has just had its UK premiere at the
:51:12. > :51:22.London Film Festival. Mark Kermode went to meet the director to talk
:51:22. > :51:49.
:51:49. > :51:53.about the challenges of using such Not content with beating Tracey
:51:53. > :51:57.Emin to the Turner Prize in 19 99th and serving as an official war
:51:57. > :52:02.artist in Iraq, Steve McQueen is making a mark in the world of
:52:02. > :52:08.feature films. His new film Shame centres on a sex addict in New York,
:52:08. > :52:13.with life is falling apart. This is the second time he has collaborated
:52:13. > :52:23.with Michael Fassbender. They first worked together on Hunger, about
:52:23. > :52:23.
:52:23. > :52:29.Bobby Sands. Shame adds almost as a companion to Hunger, as Steve
:52:29. > :52:33.McQueen unflinching leak explores all things corporeal. What is it
:52:33. > :52:37.about the subject of sex addiction that intrigues you? In the film, as
:52:37. > :52:47.his addiction becomes more and more rampant, he becomes more and more
:52:47. > :52:51.alienated, although he says that is What fascinated me was that this
:52:51. > :52:57.eviction, in some ways you need someone to facilitate it. Not all
:52:58. > :53:02.the time of course. I love the idea of that drama, there are two people,
:53:02. > :53:07.one wanted something from the other person, that control, but also it
:53:07. > :53:14.was all about struggle, and knowing you had a problem in the first
:53:14. > :53:17.place. When I first read about sex addiction I found it funny but then
:53:17. > :53:26.you realise this person, similar to an alcoholic, longs to get through
:53:26. > :53:31.a day without relieving himself, I don't know how many times a day,
:53:31. > :53:36.but that is sad. It ceases to become funny. I think to be in love
:53:36. > :53:42.with someone is pretty brave. That person can break your heart. For
:53:42. > :53:46.him, somewhere along the line in his life, he didn't want that to
:53:46. > :53:49.happen and he didn't want the possibility of being vulnerable.
:53:49. > :53:54.Many of the scenes involves a degree of physical nakedness and
:53:54. > :53:58.also emotional nakedness. Tell me how difficult that may be to work
:53:59. > :54:03.with a cast. One imagines that acting without your clothes on is
:54:03. > :54:08.not something which everybody is comfortable with. No, then they are
:54:09. > :54:14.not very good actors, are they? If Michael was walking around with a
:54:14. > :54:18.bazooka and an AK- 47, no one would say anything, but the bizarre is
:54:18. > :54:24.normal and abnormal is bizarre. He is an actor and we had to get to
:54:24. > :54:27.the emotional depth of the character. This is 1951, a lot of
:54:28. > :54:33.people didn't wear pyjamas, they got up and they were naked, that is
:54:33. > :54:37.what you do. End of story. There have been comparisons made between
:54:37. > :54:42.Michael Fassbender and Marlon Brando in terms of physical
:54:42. > :54:46.performance and people now view Michael fast bend as arguably one
:54:46. > :54:52.of the greatest screen actors of his generation -- Michael
:54:52. > :54:58.Fassbender. TUC a connection? I do. -- do you see a connection
:54:58. > :55:02.was made he is a man's man but there is a certain fragility which
:55:02. > :55:07.is beautiful. You can project yourself as the audience on him and
:55:07. > :55:17.see yourself. This gite nailed it today. You are
:55:17. > :55:19.
:55:19. > :55:26.the man. Your pitch was amazing -- this guy it nailed it today. He is
:55:26. > :55:29.just picking colours randomly! can bring you in. He doesn't push
:55:29. > :55:34.you away. He can bring you in because he is not afraid to show
:55:34. > :55:38.his vulnerability. He is exceptional. Tell me about
:55:38. > :55:43.Brandon's relationship with free. There is a key confrontation
:55:43. > :55:47.between them when she says, we are not bad people but we come from a
:55:47. > :55:50.bad place. One of the things I admire it is that you are never
:55:50. > :55:55.explicit about what that bad places although it seems to me the film
:55:55. > :56:01.had suggestions as to what it might be. Tell me what you can about what
:56:01. > :56:07.that line meant. I wanted to make their past familiar rather than
:56:07. > :56:13.mysterious. I also didn't want it to be and let out for Brandon...
:56:13. > :56:17.Like an explanation. Precisely, for what he does in the movie. It is
:56:17. > :56:23.their past. When we meet people in general, we know nothing about them
:56:23. > :56:29.other than what they present and sometimes there are tales of the
:56:29. > :56:32.past in the present when you are with them. In the film, the biggest
:56:32. > :56:36.tell was when Carey Mulligan is singing New York New York to
:56:36. > :56:42.Brandon and it is the only time when Brandon listens to secede and
:56:42. > :56:47.he has to listen to her, he can't move and he can't escape, it is a
:56:47. > :56:52.performance. He has to listen, he is forced do. In terms of where you
:56:53. > :56:58.go from here, two feature films, critically very well received, do
:56:58. > :57:02.you see future from making as the primary part of your future or do
:57:02. > :57:06.you see yourself as a visual artist who happens to work in film?
:57:06. > :57:12.don't want people to make me have to choose! I want to do what I want
:57:12. > :57:17.to do. Next time I might want to dance, I don't know! No, really, it
:57:17. > :57:24.is not even a joke. As an artist, as a person who wants to do stuff,
:57:24. > :57:34.you should do stuff, whatever it is. There is no barrier or divide. I
:57:34. > :57:35.
:57:35. > :57:38.Shame is released in the UK on the 13th of January next year. Next
:57:38. > :57:41.week's Culture Show is on Saturday at 6pm, where Mark Wallinger talks
:57:41. > :57:44.about the White Horse project, Terence Conran shows us the Way we
:57:44. > :57:54.Live now and the Journalist Anne McElvoy investigates the power of
:57:54. > :57:59.