:00:09. > :00:12.Hello and welcome to the Culture Show from Glasgow. This week we are
:00:12. > :00:17.experiencing an unconventional opera, pondering the political
:00:17. > :00:25.memoir, seeing a skier remove the and honouring the octogenarian King
:00:25. > :00:31.of British design -- seen a scary movie. Coming up tonight: Mark
:00:31. > :00:38.Wallinger meets an artist. The Way We Live Now. Sir Terence Conran
:00:38. > :00:42.talks to Alan Yentob. Someone living in the country and
:00:43. > :00:47.doesn't make anything, it is awful. I get the latest on the Cultural
:00:47. > :00:51.Olympiad. And online expert Aleks Krotoski
:00:51. > :00:58.explains why search results are not as serendipitous as this theme.
:00:58. > :01:03.Also tonight: David did his art for opera.
:01:03. > :01:12.And Racal boy ponders the importance of the Personal memoir
:01:12. > :01:16.when playing for political power. Mark Kermode talks to Rebecca Hall,
:01:16. > :01:19.stock of The Awakening. And we reveal the winning buildings
:01:19. > :01:22.in this year's Heritage Angel Awards.
:01:22. > :01:29.First tonight, Mark one danger is one of Britain's best-known and
:01:29. > :01:33.most played for contemporary artists. He has called the public
:01:33. > :01:38.imagination with works as diverse as a statue of Jesus Christ, a
:01:38. > :01:42.perfect replica of the Iraq war protests of Brian Haw, and a
:01:42. > :01:49.performance piece in which he dressed up as a bear. A new book
:01:49. > :01:53.has been published about Mark, so Alastair went to meet him.
:01:53. > :02:01.During the summer of 2010, and mysterious set of graffiti began to
:02:01. > :02:07.appear across London. From Clapham to Camden, each tag was the same.
:02:07. > :02:12.Mark. Always the same size, always placed in the middle of a brick in
:02:12. > :02:18.unremarkable locations. It turns out that the tax were up by the
:02:18. > :02:22.Turner prize-winning artists Mark Wallinger, and he has evolved into
:02:22. > :02:27.one of Britain's most unconventional artists. He works in
:02:27. > :02:32.painting, video, sculpture and performance and his pieces can be
:02:32. > :02:36.very personal, profound, highly political but also with a lightness
:02:37. > :02:42.of touch. He can be really funny. He is the only artist I can think
:02:42. > :02:50.of who has made a piece that involves dressing up as a bear. I
:02:50. > :03:00.met up with Mark to try to find one of his tax. There is one here! Your
:03:00. > :03:02.
:03:02. > :03:06.handiwork! For parents or stupidity that kept me from fully utilising
:03:06. > :03:11.the punning potential of my name. Something to do with the urban
:03:11. > :03:16.experience as well, anonymity, and trying to make a mark, be an
:03:16. > :03:23.individual, but that is lost as a gesture of one brick among the
:03:23. > :03:28.billions within London. How many have you done? Well over 2000. They
:03:28. > :03:37.range from Clapham Junction to Shoreditch, makes their to the Old
:03:37. > :03:41.Kent Road, and yet -- Mayfair. has become an obsession? I was
:03:41. > :03:46.caught in the act was and this guy said, your name is all over town
:03:46. > :03:52.and that was nice, because I did hope it would creep up on people.
:03:52. > :03:55.Mark will ensure's art has always been diverse. His series of
:03:55. > :04:00.portraits of the capital highlighted the problem of
:04:00. > :04:07.homelessness in London. He was the first artist to make a work for the
:04:07. > :04:10.Fourth Plinth in Trafalgar Square in 1999. In 2004, he spent 10
:04:10. > :04:17.consecutive nights dressed as a bear in Berlin's Museum of Modern
:04:17. > :04:23.Art. He won the Turner Prize in 2007 for a reconstruction of the
:04:23. > :04:27.late anti-war protester Brian Haw's peace camp, which stood outside
:04:27. > :04:32.Westminster from 2001 up to 2006. If you think back over you can read,
:04:32. > :04:38.it is quite hard to pin down what you do as an artist -- over your
:04:38. > :04:44.career. Why have you almost consciously resisted creating your
:04:44. > :04:48.own signature style? Originally, I would define myself as a painter
:04:48. > :04:54.and once I opened my mind to other media and what those things had
:04:54. > :04:59.inherent within them, the possibilities of those, then I
:04:59. > :05:03.suppose that it did seem very liberating. In the 90s, when you
:05:03. > :05:08.started working with different media, including video, you
:05:08. > :05:15.introduced religion and faith as an explicit part of the work. Perhaps
:05:15. > :05:22.the best-known example is "this man". Why would you suddenly so
:05:22. > :05:27.drawn to creating is overtly religious imagery? Two factors. The
:05:27. > :05:31.history of Christian art really, Westernised, but the other thing
:05:31. > :05:40.was the rise of fundamentalism and that made me think about how much
:05:40. > :05:45.the residue of Christianity in a pretty secular society, how much it
:05:45. > :05:49.still chimes. There is a lovely connection in the book of the one
:05:49. > :05:54.man in Trafalgar Square and another lone man in a bid from square of
:05:54. > :06:00.national importance in London, Brian Haw in Parliament Square.
:06:00. > :06:06.That protest inspired State Britain. Why were Brian Haw's actions so
:06:06. > :06:12.compelling? Above all else, it was the power of the document that he
:06:12. > :06:17.was unfolding. He was shaming and lot of people, not just the
:06:17. > :06:22.government. There had been one huge protest before we went to war and
:06:22. > :06:26.then everybody seems to go home. I was photographing his things got a
:06:26. > :06:30.couple of years just because I thought it was a remarkable thing.
:06:30. > :06:40.You've got to know him? I got to know him when I knew I was going to
:06:40. > :06:41.
:06:41. > :06:46.propose it, yes, and he let me take 800 photographs. On 22nd May, I
:06:46. > :06:50.took a couple of curators to the square and said that a proposed to
:06:50. > :06:57.remake Brighton's protest, and that very night, 78 policemen came and
:06:57. > :07:03.took it away. Really? Yeah. spent time in Berlin and famously
:07:03. > :07:13.you dressed up in a best suit when you were there. Aid there is a
:07:13. > :07:20.symbol of Berlin. It was called Sleep but. -- the bear is a symbol
:07:20. > :07:27.of Berlin. How important is it that your work always has some wit and
:07:27. > :07:32.lightness? I don't like pretentious finger poking work. I was not going
:07:32. > :07:37.to do any impressions, I was going to be a guy dressed up as a bed but
:07:37. > :07:43.there needs to be enough motivation and motor energy and there were
:07:43. > :07:48.enough people always outside that I could interact with or play with.
:07:48. > :07:55.It was only really on very few occasions where there was no one
:07:55. > :07:59.there at all and that became quite a strange, meditative moment.
:07:59. > :08:08.would love to ask you about a much more recent piece that is as yet
:08:08. > :08:14.unrealised. The horse that you may yet erect in Kent. Tell me a little
:08:14. > :08:20.bit about that. It will be a 50 metres high, a white horse, with
:08:20. > :08:24.the steel superstructure and a cement finish over concrete, and
:08:24. > :08:28.hopefully it will be at Ebbsfleet, where the chalk of the North Downs
:08:28. > :08:32.runs into the Thames estuary and that led me to think about hillside
:08:32. > :08:36.figures made of chalk and it interested me that it is kind of on
:08:36. > :08:40.that road that is in and out of Europe and the rest of the world.
:08:40. > :08:45.You would see it on the Eurostar? Yes, and the motorway, so it is
:08:45. > :08:51.both of this country and of that relationship with the wider world
:08:51. > :08:55.and history. Any sense of when we will see the White Horse? I hope
:08:55. > :09:04.there will be some good news on that coming up in the not-too-
:09:04. > :09:09.distant future. After the Olympics? Yeah. And the book Marked by Martin
:09:09. > :09:14.Herbert is out now. David is a hugely popular visual
:09:14. > :09:21.artist who deals with the so real and the daft. Now he has turned his
:09:21. > :09:26.hand to opera, collaborating with Nicholas Bone and they need they be
:09:26. > :09:34.saying -- David Fennessey. He has come up with an opera inspired by
:09:34. > :09:38.TV cookery shows. We went to find out more.
:09:38. > :09:42.This is an opera about food. It is a really good subject for an opera
:09:42. > :09:46.and I wish I had thought a bit myself, but I know from experience
:09:46. > :09:56.how difficult it is to get this kind of show right. But the process
:09:56. > :10:02.
:10:02. > :10:08.SINGING. # Super #.
:10:08. > :10:11.Pass this boom is set in the world of daytime television, a cookery
:10:11. > :10:15.programme where the chefs have to create a special meal to entertain
:10:15. > :10:20.a different guest every week. In this episode, they are planning
:10:20. > :10:29.what will be on the menu but then Mr Banana start to question their
:10:29. > :10:34.ingredients. Banana custard? Ride from the start, the creators of
:10:34. > :10:44."pass of the spoon" insisted on using the finest ingredients. The
:10:44. > :10:49.composer and director made the decision to come to someone else
:10:49. > :10:54.before the operetta. It is not for a dramatist and poet so there is
:10:54. > :10:58.David Trickey's work and mind and a lot of the time we are grinding
:10:58. > :11:03.together against each other. We are not always been the same direction
:11:04. > :11:07.and that was deliberate. We set up this slightly opposing world.
:11:07. > :11:13.Fennessey is a serious composer, who has written four symphony
:11:13. > :11:18.orchestras and string quartet. David treacly is known for his
:11:18. > :11:22.offbeat drawings and animations. have written a few comic operas in
:11:22. > :11:28.my time and musicals and I am interested in how you approach
:11:28. > :11:34.comic timing. I never wanted to score the comedy. I always took it
:11:34. > :11:43.very seriously. There is a lot of pious and religious music and I
:11:43. > :11:52.scored it as if it was the most serious thing in the world. It is
:11:52. > :11:58.so nicely shaped? # I am just a banana #.
:11:58. > :12:04.What was it like he read your words in a song? Was it a shock? --
:12:04. > :12:10.hearing your words? I have made lyrics for songs before but it's
:12:10. > :12:16.sort of, against the difference is that Dave is a proper musician, in
:12:16. > :12:21.that he is a composer, where the music is written down, so it is
:12:21. > :12:31.clever music rather than rock and roll, which is less so. I am an
:12:31. > :12:36.exotic fruit! We meet you for the custard! We were keen to try to
:12:36. > :12:41.avoid giving people expectations by calling it an opera or musical so
:12:41. > :12:45.we could not really decide. As soon as we started, I knew that I did
:12:45. > :12:50.not want to do it through a traditional opera means because it
:12:50. > :12:55.is a particular kind of comedy and playing David's stuff that I did
:12:55. > :13:01.not think would work. I thought it was an opera but I was speaking to
:13:01. > :13:08.David finesse the and he said no, technically it is a melodrama.
:13:08. > :13:12.is thought of an opera. I like that! Delightfully vague! Food and
:13:12. > :13:17.opera is a great mix. I was interested in cookery being a
:13:17. > :13:23.vehicle to examine a lot of dreams that I am quite interested in, like
:13:23. > :13:30.the body and being eaten and other nasty things. Thankfully, there is
:13:30. > :13:34.lots of nasty things in "past the spoon". The visual imagination
:13:35. > :13:44.comes to live with the creation of mundane root vegetables and the
:13:45. > :13:47.
:13:47. > :13:52.knowledgeable Mr Banana. Lac de? Appeals now? God! Is he German or
:13:52. > :13:59.something? Who do you think will see the show? Who will it appeal
:13:59. > :14:03.to? Lovers of fruit and veg and all things edible. I suppose hopefully
:14:03. > :14:08.there will be the people who like contemporary music and like David's
:14:08. > :14:12.music and people who know David's visual work and I suppose you are
:14:12. > :14:17.attracted to the quirkiness of that. If the rehearsals are anything to
:14:17. > :14:21.go by, fans of all things quirky it will not be disappointed and I
:14:21. > :14:27.can't help admiring the cartoonist's fearless approach to
:14:27. > :14:33.the genre. David, how many operas have you seen? Nun, I have never
:14:33. > :14:39.been to an opera. Musicals? Never been to a musical. Have you
:14:39. > :14:47.been to gigs? Yes! I have seen music before. I do know what music
:14:47. > :14:56.is, but no operas and musicals. I saw the Sound of Music. A glass of
:14:56. > :15:06.sherry! A glass of cider! Shandy! Or some elderberry cordial! A glass
:15:06. > :15:13.
:15:13. > :15:20.From what I have seen it is a delightful show. It is surreal
:15:20. > :15:24.without being alienating. And it is very funny. The thing is, comedy
:15:24. > :15:29.opera are difficult. But I think there is a good collaboration here.
:15:29. > :15:39.It seems warm and an interesting mix of people and they have a real
:15:39. > :15:43.
:15:43. > :15:47.chance of success. And Pass The Spoon will be performed in Glasgow
:15:47. > :15:53.from 17th November. Next the worldwide web has been described as
:15:53. > :16:01.the greatest serendipity engine in history, where we can make
:16:01. > :16:11.surprising connections and discover coincidences. But Vicky Cristina
:16:11. > :16:15.
:16:15. > :16:25.Barcelona -- but Alec -- Aleks Krotoski finds it is anything but
:16:25. > :16:27.
:16:27. > :16:35.serendipitous. Serendipity? It is a happy coincidence. It means luck,
:16:35. > :16:42.but good luck. I have no idea what it is. But I would like to have is
:16:42. > :16:46.some - to have some. Serendipity, that delightful moment when totally
:16:46. > :16:53.unrelated things come together in magical ways to change the course
:16:53. > :17:00.of destiny. But I'm intrigued by the science behind it. What it is,
:17:00. > :17:08.why it is important and why it is under threat as we try to replicate
:17:08. > :17:11.it online. Serendipity is the essence of innovation. It is
:17:11. > :17:17.inspiring and it is something that businesses want to distil so they
:17:17. > :17:23.can capitalise on it. But can they? Is it possible to reduce something
:17:23. > :17:33.that is so wrapped up in our life experiences and our humanity into
:17:33. > :17:34.
:17:34. > :17:39.something that can be predicted by a flow clart? -- chart. We have
:17:39. > :17:46.relied on serendipitous encounters for new revelations. These can be
:17:46. > :17:52.life changing like a new job or a lover. They can herald revolutions,
:17:52. > :18:02.like the discovery of X-rays. Or they can become essential parts of
:18:02. > :18:06.our worlds, like superglue. Serendipity has played a role in
:18:06. > :18:11.advancing culture since time immemorial. In the past people have
:18:11. > :18:17.confused it with fate, destiny, coincidence and religious
:18:17. > :18:25.experience. All extraordinary attributes that ignore an essential
:18:25. > :18:32.part - human involvement. But today the thing we're relying on to
:18:32. > :18:38.provide our wind fall coincidences is the world wide web, that has
:18:38. > :18:41.been called the greatest serendipity engine in history. Web
:18:41. > :18:47.developers are offering us spwhruegs in the form of discovery
:18:47. > :18:54.engines that introduce us to unexpected information, inspire us
:18:54. > :18:59.to do, think or see something differently. Of course, any
:18:59. > :19:04.serendipitous encounter they deliver means financial rewards.
:19:04. > :19:09.The result? Serendipity has become a commodity. Google's chairman
:19:09. > :19:16.announced last year that he wants the search engine to be a
:19:16. > :19:21.serendipity engine. He want asthma sheen that will -- he wants a
:19:21. > :19:26.machine that will answer all my questions. And based where I am
:19:26. > :19:32.using the GPS on my mobile phone and the other information that it
:19:32. > :19:36.has monitored from mail or from search or from photographs or
:19:36. > :19:41.social networking, he reckons that he knows that I'm out with my
:19:41. > :19:47.friend Kat on a Friday and that I like pub grub. So a well timed
:19:47. > :19:56.message about a good pub over there would be delightful. And it would
:19:56. > :20:01.be. But is it serendipitous? I don't think so. Computers make
:20:01. > :20:07.connections that humans can't and they're valuable in reveals the
:20:07. > :20:11.conjunction of places and ideas that we're unable to make. But the
:20:11. > :20:15.web is just a massive memory bank a system in which information can be
:20:15. > :20:25.stored for later, when the contextlet is right for having the
:20:25. > :20:26.
:20:26. > :20:33.insight to make connections. And this takes human involvement. Burr
:20:33. > :20:37.there is more in what computer can't do. Discovery applications
:20:37. > :20:44.decide what you will have access to, by crunching the data they have
:20:44. > :20:49.corrected and -- collect and showing what will be relevant to
:20:49. > :20:53.your interests. These filtders reduce chance encounters, by
:20:53. > :21:00.serving up things the system thinks you will like for sure. They go for
:21:00. > :21:08.easy wins, not the here -ish, now - ish or soon -ish stuff so you can
:21:08. > :21:14.discover things you may not have discovered before. We're facing a
:21:14. > :21:20.future in which the internet, the serendipity engine, is threatening
:21:20. > :21:24.to kill off serendipity. We will never have the opportunity to bump
:21:24. > :21:33.into something new, because machines are predicting our futures,
:21:33. > :21:38.based on our past and creating a loop of cultural homogenization.
:21:38. > :21:45.Technology can be part of the process. But are we ready to rely
:21:45. > :21:49.on technology to progress society? Should we be giving up a quality
:21:49. > :21:57.that makes us human and has advanced our culture, the wisdom to
:21:57. > :22:05.make the connection and recognise the value ourselves to a machine?
:22:05. > :22:15.Let's reclaim serendipity and keep our future in our own hands. Now
:22:15. > :22:16.
:22:16. > :22:21.when London won the Olympic bid a programme of the so-called Cultural
:22:22. > :22:27.Olympiad was announced. And I have been talking to Ruth MacKenzie to
:22:27. > :22:33.find out what we can expect. Justy country has their own way of
:22:33. > :22:37.staging the Olympics, each one has their own way of show casing their
:22:37. > :22:42.culture. Since 1952 a non- competitive of arts and culture has
:22:42. > :22:52.been associated with each games. Since it was announced London would
:22:52. > :22:55.host the Olympics, 97.6 million pounds has been awarded to projects
:22:56. > :23:02.in the Cultural Olympiad. Influiding -- including the London
:23:02. > :23:08.festival. It has been going for three years already and it is just
:23:08. > :23:11.gearing up for 2012. It is appropriate in a way they chose the
:23:11. > :23:15.London bus as their symbol, when you read their publicity, it is
:23:15. > :23:20.clear what they're setting out to be is a kind of cultural bus
:23:20. > :23:25.service for the nation. Chris crossing not only London, but all
:23:25. > :23:30.the regions with a barrage of events from workshops to
:23:30. > :23:36.exhibitions to plays and films. But as a cynic, I would ask whether
:23:36. > :23:42.London needs this vast injection of cultural creativity. And what is it
:23:42. > :23:50.exactly that we're getting for a truly remarkably large amount of
:23:50. > :23:54.money? If I'm brutally honest, I live in London, apparently the
:23:54. > :24:00.Cultural Olympiad has been going for three year, and if I hadn't
:24:00. > :24:04.read your material, I wouldn't have noticed. You're not one of the 1.2
:24:04. > :24:10.million who came and danced as parts of the big dance? No. I'm
:24:10. > :24:13.shocked and sad to hear that. seem to have been doing so many
:24:13. > :24:19.different things, that people like me just haven't realised and put it
:24:19. > :24:24.together that this is part of one event. I think our big chance is
:24:24. > :24:30.the climax of the Cultural Olympiad, that is the London festival. We're
:24:30. > :24:35.building up to this festival all over the UK and our challenge is to
:24:35. > :24:39.pull everything together and show you the best of it and the best in
:24:39. > :24:47.the world. But isn't Britain already culturally vibrant and
:24:47. > :24:51.aren't a huge number of the events, wouldn't they take place any way
:24:51. > :24:55.without the Olympiad. None of the commissions we have announced would
:24:55. > :24:58.take place without the festival. The Royal Shakespeare Company and
:24:58. > :25:03.the Globe are presenting a programme of Shakespeare done by
:25:03. > :25:08.artists from all around the world. We're going to have the Iraqi
:25:08. > :25:13.national theatre for the first time coming to do roim owe and Juliet
:25:13. > :25:16.and we have actors from the South Sudan coming here. I find that
:25:17. > :25:20.moving. We're going to have more artists from around the world doing
:25:20. > :25:27.Shakespeare and sharing how it belongs to them as well as us. This
:25:27. > :25:31.wouldn't happen in any other year. As well as over 1,000 events,
:25:31. > :25:36.London 2012 will have an Olympic poster campaign. We have
:25:36. > :25:42.commissioned 12 artists to make posters for the Paralympics and the
:25:42. > :25:47.him pibs and you have got Howard Hodgkin and Martin Creed. Three of
:25:47. > :25:52.the 12. That is one for the swimming Olympics? You can see
:25:52. > :25:57.there that he has been inspired by swimming. That is fair. You can see
:25:57. > :26:03.that Rachael has thought about the symbol of the Olympic, the rings,
:26:03. > :26:09.but she talks about how for her this is about the memory of social
:26:09. > :26:19.get togethers. So you could think about coffee mugs or glasses. And
:26:19. > :26:24.Martin has thought about Podia. not a medal for the people who come
:26:24. > :26:29.fifth? Tracy Emin has designed her poster for the par Olympics. It is
:26:30. > :26:34.difficult to get your head around to do a poster. I kept thinking
:26:34. > :26:38.what could I do? When they said would you do the Paralympics, then
:26:38. > :26:46.I said yes. I have written you inspire me with your determination
:26:46. > :26:49.and I love you. Then I used the Paralympic symbol. I don't like the
:26:49. > :26:54.Olympic rings, I find them graphically difficult to deal with.
:26:54. > :27:00.So I was pleased to have something which I found nice to draw. It is
:27:00. > :27:06.not just the post hear the she is doing for London 2012. I'm doing a
:27:06. > :27:14.solo show in Margate and I come from Margate and it is a big deal.
:27:14. > :27:19.It is like the prodigal daughter returns. I'm showing two other
:27:19. > :27:24.artists, Turner and Rodin. It is all erotic art. So not everyone
:27:24. > :27:30.knows that Turner did a lot of erotic paintings and obviously
:27:30. > :27:37.Rodin did. But much more raunchy, all people know is the Kiss, but
:27:37. > :27:42.his other stuff was hard core. So I think there will be -- they will be
:27:42. > :27:48.bringing that out and I will look a nice young lady in comparison.
:27:48. > :27:53.Prince of the posters -- prints of the pofrsers are available to buy
:27:53. > :28:00.on the festival web-site. -- posters. But you can be involved
:28:00. > :28:05.without spending any money. On the July 27th, that is the opening day
:28:05. > :28:09.of the Olympics, you're going to wake up, we hope, and join with
:28:09. > :28:16.Martin Creed to create his largest ever piece. That will be bells. We
:28:16. > :28:21.will ask you to ring bells all around the country. Bicycle bells,
:28:21. > :28:25.church bells, there will be a down load for you phone. At a particular
:28:25. > :28:32.time his work of art is everyone in Britain if you're awake, ring a
:28:32. > :28:37.bell at this time on this day. Why is important that culture should be
:28:37. > :28:41.part of this? We have 20 thousand journalists from around the world
:28:42. > :28:48.and millions of tourists and millions more people watching on TV,
:28:48. > :28:52.we want to show the creative world of the UK to its best. They say of
:28:52. > :28:57.London that culture is to London as sun is to Spain. This is actually
:28:57. > :29:01.really important to the economy of this country. And to the health and
:29:01. > :29:06.wealthth of institution. We need to put on the best show we can. That
:29:06. > :29:11.is all we're trying to do. You do a very good sell. But the truth is we
:29:11. > :29:14.are much better at culture than we're at sport shush! We're going
:29:14. > :29:21.to win many medals in sport and show that we're winners culture.
:29:21. > :29:28.That is OK. That seems to be eto be a win-win. Still to come: Mark
:29:28. > :29:35.Kermode on The Awakening and Alan yeb to be meets the king of high
:29:35. > :29:41.street design, Sirte rans Conran. Next we have been hearing the
:29:41. > :29:46.stories of buildings brought back by people who care for them and we
:29:46. > :29:56.can reveal the wirns of the new Heritage Angels Awards heltd in
:29:56. > :29:57.
:29:57. > :30:02.London this week. -- held in London The big day has finally arrived. We
:30:02. > :30:07.spent four weeks visiting 16 extraordinary groups of people
:30:07. > :30:13.trying to save 16 buildings. They all deserve to win but only four
:30:13. > :30:16.will. The host and champion of these awards is Andrew Lloyd Webber.
:30:16. > :30:22.People around the country are investing huge amounts of time, and
:30:22. > :30:27.their own money and they are unsung heroes. We need to preserve our
:30:27. > :30:31.heritage badly and there are people who we take for granted, who are
:30:31. > :30:34.doing exactly what the government ought to have been doing, so I
:30:34. > :30:40.think to celebrate the extraordinary achievements of local
:30:40. > :30:43.people, it is a very small thing to do but I think it is vital. It is
:30:43. > :30:47.moment for humility by politicians and ministers because we tried to
:30:47. > :30:51.solve the world's problems but when you speak to these people, you
:30:51. > :30:54.realise the real problems are being sold by people in the grass roots
:30:54. > :31:00.of stock the best rescue of an industrial building is the first
:31:00. > :31:05.award. The first building on the shortlist is the magnificent
:31:05. > :31:13.players fleapit in Mansfield. A gem of Britain's industrial past. --
:31:13. > :31:18.Pleasley Pit. Just down the road from Pleasley, best would colliery
:31:18. > :31:23.in Nottinghamshire. In 1845, the great Victorian engineer Isambard
:31:23. > :31:28.Kingdom Brunel built this goods shed on the outskirts of Stroud in
:31:28. > :31:33.Gloucestershire. The third building up for the award. North Leverton
:31:33. > :31:39.windmill, the final building competing, was built in 1813 by
:31:39. > :31:48.five local farmers and has been in continuous use for nearly 200 years.
:31:48. > :31:53.And the winners are the Friends of Pleasley Pit. It feels fantastic to
:31:53. > :31:58.have won this amazing award. I feel so proud that all my volunteers
:31:58. > :32:05.have seen after 15 years some recognition of their arduous work.
:32:05. > :32:09.The next award category is for heritage at risk in general.
:32:09. > :32:15.The first building inherited at risk category is Arnos Vale
:32:15. > :32:23.Cemetery in Bristol. -- heritage at risk. The huge necropolis was
:32:23. > :32:26.opened in 1839. The Ireland memorial cross in Staffordshire was
:32:26. > :32:32.built in 1841 by a wealthy industrialist, J C Watts Russell,
:32:32. > :32:37.in memory of his wife. The third building competing for the award is
:32:37. > :32:44.the de concentrated Church of St Stephen's, Rosslyn Hill, in
:32:44. > :32:48.Hampstead. Consider it to be the architect's masterpiece. The final
:32:48. > :32:52.building is the Dome Cinema in a Sussex coastal town of Worthing,
:32:52. > :32:56.which has hardly changed since it was built in 1911 as a plush
:32:56. > :33:00.picture palace. They were all very strong candidate
:33:00. > :33:06.and we were completely split between two, and after a lot of
:33:06. > :33:10.heated debate, we decided that we have to award joint winners. Arnos
:33:10. > :33:17.Vale Cemetery Trust, working together with Bristol City Council,
:33:17. > :33:24.and St Stephen's Restoration of Preservation Trust. I am so proud
:33:24. > :33:29.of Arnos Vale today. It is for everyone. It is fantastic. It is
:33:29. > :33:34.wonderful to have had some public acknowledgement of 11 years of what
:33:34. > :33:37.Churchill referred to as blood, toil, tears and sweat. It has been
:33:37. > :33:41.but it is being used by the community now and that is the
:33:41. > :33:46.important thing. The third angel is for best rescue of a place of
:33:46. > :33:50.worship. The first building nominated in the place of worship
:33:50. > :33:58.category is the Church of the Good Shepherd in Nottingham. Built in
:33:58. > :34:02.1964, the Church's stained-glass it was Brown's great king -- ground-
:34:02. > :34:07.breaking. The second entry, the Church of St Peter's in
:34:07. > :34:12.Leicestershire, has hardly changed since it was built in the late 15th
:34:12. > :34:15.century. It may have the honour of been mentioned in the Domesday Book,
:34:15. > :34:21.but the third building up for the award also has an impressive
:34:21. > :34:26.historic pedigree. The 12th century St James's Priory is thought to be
:34:26. > :34:30.Bristol's oldest surviving building. The final building competing is the
:34:30. > :34:35.former church of St Margaret of Antioch in the inner-city area of
:34:35. > :34:44.Leeds. Not much to look at from the outside, but step inside and you
:34:44. > :34:47.will be greeted by a wonderful sight. And the winner is... Left
:34:48. > :34:54.Bank Leeds for the restoration of the former Church of St Margaret of
:34:54. > :34:58.Antioch. I think everybody admitted that it may not be the most
:34:58. > :35:02.beautiful exterior but it is big inside that counts. One of the
:35:02. > :35:06.things that people always say when they walk in the building is wow!
:35:06. > :35:11.And the next thing is normally to swear. And then say, what can we
:35:11. > :35:17.do? Because it is a space that so many people have used in the last
:35:17. > :35:23.few years. Thank you very much. In a world where it is hard to get
:35:23. > :35:26.somebody put some tiling in your utility room, I am thrilled that I
:35:26. > :35:32.am do on the shortlist for the best craftsmanship are employed on a
:35:32. > :35:38.rescue. -- I am doing. Tyntesfield Orangery in North
:35:38. > :35:42.Somerset was built in 1897 to house exotic plants and fruit. Today, an
:35:42. > :35:47.army of stonemasons on the National Trust have been hard at work
:35:47. > :35:52.restoring this handsome building. Another set of unique craft skills
:35:52. > :35:58.came into play in the restoration of the second building shortlisted.
:35:58. > :36:05.The 16th century Smythe Barn in Kent boasts a rare and stunning
:36:05. > :36:08.roof, usually found in palaces. Next up is the once magnificent
:36:08. > :36:12.fourteenth-century Hall in Worcester. To ensure this ancient
:36:12. > :36:19.site survives into the next century, a team of stonemasons have been
:36:19. > :36:22.hard at work, Suren it up for the nation. The final building
:36:22. > :36:28.competing is Woodchester Mansion in Gloucestershire, which was
:36:28. > :36:31.mysteriously abandoned amid construction in 1873. Now, thanks
:36:31. > :36:38.to the Woodchester Mansion Trust, workers resumed on this beautiful
:36:38. > :36:43.building. The winner of the craftsmanship award is Mr Graham
:36:44. > :36:47.Forge, his son and the group for the Smythe Barn. It is a massive
:36:47. > :36:51.pat on the back for all of the effort that we have done. It is
:36:51. > :36:57.lovely to be awarded something that recognises how much effort we have
:36:57. > :37:01.all put into it. What an exciting and enjoyable morning, not least
:37:01. > :37:07.for the winners. This is the first year of the Heritage Awards and in
:37:07. > :37:10.the future, I am looking forward to meeting many more Heritage Angels.
:37:11. > :37:16.Next up, Sir Terence Conran bought Mossbourne design into drab and
:37:16. > :37:20.dingy British households -- modern design. In doing so, he became a
:37:20. > :37:25.household name himself. Few have had such a profound effect on the
:37:25. > :37:29.look of our lifestyles. He has just turned 80 and to celebrate, the
:37:29. > :37:39.Design Museum is holding an exhibition looking back at his
:37:39. > :37:42.
:37:42. > :37:47.extraordinary career. Alan Yentob Terence Conran has always been a
:37:47. > :37:51.hero of mine. It was his passion for intelligent design which helped
:37:51. > :37:56.transform the rather dowdy Britain of the 50s into a livelier, more
:37:56. > :38:01.elegant and more colourful plates. Conran is much more than a designer,
:38:01. > :38:05.a retailer or restaurateur, although he is all three of those.
:38:05. > :38:08.He was a pioneer of what seemed like a sophisticated, civilised
:38:08. > :38:13.lifestyle that he believed should be accessible and affordable to
:38:13. > :38:16.just about everyone. It is a mission that has absorbed him for
:38:16. > :38:26.over half a century and his employers and impact can still be
:38:26. > :38:29.
:38:29. > :38:35.You enticed us all into understanding design. You held our
:38:35. > :38:41.hand. Let's face it, Britain was quite dowdy when you began and it
:38:41. > :38:49.has taken half a century to get where we are now, which somehow has
:38:49. > :38:54.embraced the dream he had. It is surprising to me, this, because I
:38:54. > :39:01.worked on the Festival of Britain as an extremely young designer and
:39:01. > :39:04.I saw the enormous enthusiasm that people had when they came to the
:39:04. > :39:12.festival. If you looked around London at that time, endless bomb
:39:12. > :39:20.sites, it was a miserable, Gray, rationed existence. Suddenly coming
:39:20. > :39:28.to the Festival of Britain was light, colour, cheerfulness,
:39:29. > :39:32.innovation, invention, a new architecture, shapes, and it gave
:39:32. > :39:37.the British who went to it confidence that they were in the
:39:37. > :39:42.right country at the right time. The British have always been rather
:39:42. > :39:48.suspicious of the Continent, of the French. You love Paris, you love
:39:48. > :39:53.France, you love cuisine, and now we have open-air cafes, there is
:39:53. > :39:57.light streaming into your building. In their early 50s, I had a friend
:39:57. > :40:02.called Michael Wickham who had been a condition last photographer and
:40:02. > :40:12.he said to me, would you like to come on holiday and so we set off
:40:12. > :40:13.
:40:13. > :40:20.for France in his clapped-out car, and we managed to spend six weeks
:40:20. > :40:30.eating in wonderful cafes, slipping in ditches, and this trip to France
:40:30. > :40:31.
:40:31. > :40:37.was enormously important to me. Especially, the Ironmongers shops,
:40:37. > :40:45.you went into them, these wonderful, sturdy, kitchen equipment. Great
:40:45. > :40:52.casseroles, wonderful ceramics, fantastic baskets. To me it all
:40:52. > :40:56.added up to the sort of life that I wanted to live. As it turned out,
:40:56. > :41:01.it was the sort of life that many of us wanted to live, although it
:41:01. > :41:05.took Conran's vision to persuade us that this was the case. In 1964, he
:41:06. > :41:13.opened a shop on the Fulham Road which was to blossom into perhaps
:41:13. > :41:16.his greatest legacy. Habitat. don't just sell furniture but they
:41:16. > :41:23.are also if taste supermarket. In this case, the furniture and the
:41:23. > :41:28.taste a one-man's: Terence Conran. I have always been fascinated by
:41:28. > :41:33.the below the stairs object of the Victorian era, which were made as
:41:33. > :41:38.very useful, simple objects. The design of them probably really
:41:38. > :41:42.wasn't considered as such, they had to do their job. His farmhouse
:41:42. > :41:47.tables and enamel jugs entice the naturally Conservative Brits to
:41:47. > :41:51.imagine they were revisiting the past. But his real genius lay in
:41:51. > :41:56.presenting those objects side by side, with high desire from
:41:56. > :42:00.Scandinavia and Italy. Pieces by contemporary designers, working in
:42:00. > :42:07.plastic and chrome. As much as anything, conman was selling us
:42:07. > :42:12.ideas about design. -- Terence Conran. You were trying to show
:42:12. > :42:17.people how they could live rather than the way they did lives. What
:42:17. > :42:22.Habitat was about, and I know you resist the would live start but I
:42:22. > :42:28.mean it in a positive way. In other words, the quality of life --
:42:28. > :42:35.resist the word "lifestyle". Not just the chair we sit in but the
:42:35. > :42:41.food we eat. How you make everyone a place we want to be in. For I
:42:41. > :42:47.believe in easy living. A feeling that when you come home, there is
:42:47. > :42:52.no formality, you can keep your shoes off, take your jacket off,
:42:52. > :43:02.sit down on the sofa and put your feet up on it, read a book, watch
:43:02. > :43:02.
:43:02. > :43:08.the telly, have a drink and... I have always tried to create that
:43:08. > :43:11.sort of relaxed atmosphere. isn't too fantastical to say that
:43:11. > :43:16.Terence Conran was the reason most of us sleep under a duvet every
:43:16. > :43:22.night. That many of us have open- plan homes, or for the garlic
:43:22. > :43:27.presses, Wine Rack and pepper mills in our kitchens. His philosophy,
:43:27. > :43:32.which seemed so radical in the 60s, had become the norm, and he
:43:32. > :43:38.continues to design and make things today through his workshop, a
:43:38. > :43:42.Benchmark. As the elder statesman of British design, he is naturally
:43:42. > :43:46.concerned for the future of the industry and despite turning 80,
:43:46. > :43:52.the always outspoken Terence Conran has no intention of bowing out
:43:52. > :43:55.quietly. Do we undervalue the creative industry? I think one of
:43:55. > :44:00.the things that Britain has achieved a really his reputation,
:44:00. > :44:07.and much of it is to do with its design, its architecture, the
:44:07. > :44:13.people it has produced. Yeah. I think it is undervalued by
:44:13. > :44:22.government. Seriously undervalued. We have to create jobs, you know,
:44:22. > :44:28.the easiest way to create jobs is by making things. We have simply
:44:28. > :44:33.got to learn how to become a workshop again in this country and
:44:33. > :44:42.make things. Fancy living in a country that doesn't make anything.
:44:42. > :44:46.It is awful. Terence Conran, the Way We Live Now, is at the Design
:44:46. > :44:51.Museum from November 16th until March fourth next year. Next, if
:44:51. > :44:57.you are plotting or political power, what do you need to make it? Crowd-
:44:57. > :45:02.pleasing Policies? A makeover? An attractive young family? That will
:45:02. > :45:07.help but don't forget the latest weapon in the leader's' armoury,
:45:07. > :45:11.publishing a personal memoir. Over the pond, the Republican hot shot
:45:11. > :45:15.Michelle has her eye on the Oval Office and hence she is the latest
:45:15. > :45:25.politician to put pen to paper. Journalist Anne McElvoy talks us
:45:25. > :45:32.
:45:32. > :45:38.Michelle Backman is the new Tea Party got ess of right-wing
:45:38. > :45:42.politics. In other words, she is the new Sara Palin. Just without
:45:42. > :45:46.the natural restraint and liberal tendencies. I think that people
:45:46. > :45:52.across the United States are not happy with President Obama's
:45:52. > :45:57.policies and I think it is likely he will be a one-term president.
:45:58. > :46:03.She is intent on challenging Barack Obama and as public opinion goes
:46:03. > :46:09.cold on the cool liberal guy, that is a big opportunity. So what does
:46:09. > :46:18.a fledgling member of congress need to reach out to a wider audience?
:46:18. > :46:25.She is deploying the weapon of a thumping great memoir with a states
:46:25. > :46:30.womanly image on the cover. You are no one in American politics without
:46:30. > :46:36.an autobiography laying out your view of the world. Modern
:46:36. > :46:42.campaigning is about selling a story. The game changer was Obama's
:46:42. > :46:50.Dreams For My Father. It was written before his career began and
:46:50. > :46:54.it has a refreshing honesty. Two things not always associated
:46:55. > :46:59.politicians. Can I not honestly say the voice in this book is not mine.
:46:59. > :47:05.But I would tell the story differently today. Even if certain
:47:05. > :47:14.passages have been inconvenient politicaly. What this book she'd
:47:14. > :47:21.touching life story could reach people who don't read big tomes and
:47:21. > :47:25.he even confessed to teenage drug abuse. But many people are writing
:47:25. > :47:30.memoirs before they achieve anything. So what is the point?
:47:30. > :47:38.Beside pegging her to a set of values, it is a chance to be on the
:47:38. > :47:48.chat shows and have acres of press coverage, even from detractors,
:47:48. > :47:52.
:47:52. > :47:56.such as Jon Stewart. That is... The guy... Teaching people not to be
:47:56. > :48:02.gay? Of course Obama was not the first politician to discover the
:48:02. > :48:08.memoir as a campaign tool. Winston Churchill penned his self-portrait,
:48:08. > :48:17.my early life, to rise up the ranks and show his if theness to --
:48:17. > :48:23.fitness to lead. So did Adolf Hitler and Ronald Regan. Campaigns
:48:23. > :48:33.of the field in which interests clash intrigue us as events move to
:48:33. > :48:33.
:48:33. > :48:37.the final show down. Tensions break out and stuff just happens. In
:48:37. > :48:41.Britain though political insiders tend to wait until they have
:48:41. > :48:47.achieved something before spilling the beans. In recent years we have
:48:47. > :48:51.had a slew of memoirs from the New Labour in crowd about life at the
:48:51. > :48:56.top. It wasn't the politics that appealed, it was the boldness,
:48:56. > :49:00.people talked about it for years. Here was a new leader, telling me
:49:00. > :49:04.he was thinking about doing it in his first conference speech. Bold.
:49:04. > :49:09.I said, I hope you do it. Because it's bold. Important thing about
:49:09. > :49:14.the accounts by the big hitters is they rarely concede that a lot of
:49:14. > :49:20.it was a waste of time or a cock up. Vindication is the name of the game
:49:20. > :49:25.with a twist of revenge. The hope was we would trip up and I would
:49:25. > :49:32.lose my head by some trick of fate the mood of the public would switch.
:49:32. > :49:36.It was never going to happen. everyone of these accounts is a
:49:36. > :49:44.feat of self congratulations. Politicians aren't into that, as we
:49:44. > :49:53.know. There is a school of memoir writing that is devoted to failure
:49:53. > :49:59.and what it feels like. From Labour's glody Chris Mullin to the
:49:59. > :50:08.old right-wing Alan Clarke. Department of Employment, Wednesday,
:50:08. > :50:12.15th June, she has a pale skin and large eyes, her blonde hair is gamy
:50:12. > :50:17.and short her sexuality tightly controlled. She makes plain her
:50:17. > :50:22.feelings on several accounts, without expressing them. One that
:50:22. > :50:28.I'm an uncouth lout, two that it is a mystery why I have been made a
:50:28. > :50:33.minister. The joy of the memoir is that it is weapon, a diversion and
:50:33. > :50:37.an execution and often absurd. But it is telling. The reason I like
:50:37. > :50:43.them, they give us a glimpse into the events of people who shaped our
:50:43. > :50:51.course. Are they self serve something of course. If you want to
:50:51. > :50:55.sniff the air of another era, there is no better way. Michelle
:50:55. > :51:01.Backman's memoir is published on 21st November. For those who like
:51:01. > :51:06.to be terrified, one of this autumn's key releases will be The
:51:06. > :51:16.Awakening, a new British thriller that had its premiere last week.
:51:16. > :51:29.
:51:29. > :51:35.Mark Kermode has been talking to Rebecca harl is becoming one of the
:51:35. > :51:41.UK's most in demand actresss, The Awakening is a chiller set in
:51:41. > :51:51.postWorld War one Britain and she has made a career out of exposing
:51:51. > :51:55.
:51:55. > :52:01.psychic fraudsters. Welcome to the show. You have been nominated for
:52:01. > :52:05.an independent film award. You have had nominations before. You won a
:52:05. > :52:09.BAFTA. Let's talk about The Awakening, has there been a return
:52:09. > :52:17.to that kind of classic horror? People seem to have decided they
:52:17. > :52:22.want something different from their chillers? The truth is that that
:52:22. > :52:29.these type of genre movies and everyone makes a face when you say
:52:29. > :52:35.that. Not me. I just don't think it is. Often the point of the films
:52:35. > :52:42.that take you know extreme situations is to say something more
:52:42. > :52:47.simple and humane. And often it is easier to tell, to get to the meat
:52:47. > :52:54.of that through being elliptical and going through it the other way
:52:54. > :52:59.and using a genre. I often find it illuminates things. What is the
:52:59. > :53:04.scariest film you saw? Probably Don't Look Now. But it is a strange
:53:04. > :53:10.one. I was home alone as a kid, I was about 12, rifling through my
:53:10. > :53:15.dad's video collection and put on Don't Look New As a 12 or 13-year-
:53:15. > :53:23.old. Perhaps not the best. I call that bad parenting. No. My parents
:53:23. > :53:27.would say not. Good parenting. The opening to cultures. Expose
:53:27. > :53:32.yourself to one of the scariest films. I didn't know what I was in
:53:33. > :53:40.for. I kept watching. There is a connection, because it is about
:53:40. > :53:45.loss and the centre of the Awakening, it is seen through the
:53:45. > :53:51.eyes of your character. Yes. I don't look at the script and think,
:53:51. > :53:57.you know, oh grieving, that is a great way to tell a ghost story. I
:53:57. > :54:05.thought a gors story is a good way to talk about grief. You use
:54:05. > :54:11.something to address something else. What is that? She began with film
:54:11. > :54:15.like The Prestige and went to Frost/Nixon and working with Woody
:54:15. > :54:21.Allen in Vicky Cristina Barcelona. He keeps looking over. You keep
:54:21. > :54:26.provoking contact. "M at. You have been throwing looks al at him.
:54:26. > :54:32.story with Woody Allen he said can you do an American accent, fine
:54:32. > :54:37.you're in? That is true. Really? Yes it sounds fan fast Tall -- fan
:54:37. > :54:42.tastical. He didn't even see my face. It was winter and I was
:54:42. > :54:46.wearing a hat and had a scarf. There was about this much of my
:54:46. > :54:54.face showing. I was trying to disrobe, not entirely, but within
:54:54. > :54:57.reason. Before I had got to the hat, he just said, can you do an
:54:57. > :55:02.American accent. I have spoken to people who have been directed by
:55:02. > :55:07.him and say he is very, he stands back and lets you do it and give
:55:07. > :55:12.you a bit. What is that like? true. If anything he is a bit
:55:12. > :55:17.more... He can be even more irrefr rent with his own material and I
:55:17. > :55:22.found that scary. He would say, do it again, put it in your own words,
:55:22. > :55:32.say what you want. I would say, you're kidding mairs, you're Woody
:55:32. > :55:33.
:55:33. > :55:41.Allen. I can't put it into my words. She is a mental teenager and she
:55:41. > :55:50.has a death wish. So for a brief moment of passion she abandons all
:55:50. > :55:55.responsibilities. What is it like working with Christopher Nolan?
:55:55. > :56:01.is extraordinary. I didn't, well I was green when I meat The Prestige.
:56:01. > :56:07.It was my first film and I had never been to Hollywood before. He
:56:07. > :56:12.cast me on the basis of a tape I made on my dodgy video recorder in
:56:12. > :56:21.my bedroom. So I didn't know it was. What was on the tape? A scene from
:56:21. > :56:25.the movie. It was like, you auditioning on your own? Yes it was
:56:25. > :56:35.with a mate reading behind the cam RSPCA I wasn't doing both parts.
:56:35. > :56:35.
:56:35. > :56:45.And just flipping my head. What do you want from me? I... I want... I
:56:45. > :56:49.
:56:49. > :56:53.want you to be... Honest with me. No tricks. No lies. And no...
:56:53. > :56:58.Secrets. You paint and you have been talking about directing and
:56:58. > :57:04.having confidence in something like Christopher Nolan, you have a
:57:04. > :57:09.creative vent, are you going to direct? Yeah, it is terrible being
:57:09. > :57:14.an actor, people ask you that. Sorry I meant it in a good way.
:57:14. > :57:21.is great, but if I say it now, then I'm going to have to come good on
:57:21. > :57:25.it. Would you like to. When your being directed. I'm being
:57:25. > :57:33.faseeshous, but I would like. have a project that you would like
:57:33. > :57:40.to direct? Maybe. Is ate genre project? I don't know yet. It is
:57:40. > :57:45.early days. OK. And The Awakening is on release from end of next week.
:57:45. > :57:50.This has been the last of our regular programmes, but you can see
:57:50. > :57:54.a special on Armistice Day, the 11th November at 7pm. Art for
:57:54. > :58:01.heroes look at how ex-servicemen suffering from post-traumatic
:58:01. > :58:05.stress are using art to help heal themselves. We leave you tonight
:58:05. > :58:11.with the Fleet Foxes, the American folk band are in the UK next month.
:58:11. > :58:21.But now here is a TV exclusive of a new animation made to accompany a
:58:21. > :58:31.