:00:13. > :00:15.Hello, and welcome to the Culture Show. Now, when a royal decree from
:00:15. > :00:18.Queen Victoria herself set aside the princely sum of �2,000 to
:00:18. > :00:27.establish the National Portrait Gallery here in London in 1856, it
:00:27. > :00:30.was the first museum to celebrate, solely, the art of portraiture. Now
:00:30. > :00:33.156 years later, it's home to a new exhibition celebrating the life and
:00:33. > :00:36.work of one of Britain's most important and influential artists
:00:36. > :00:46.Lucien Freud, whose death last year really marked the end of an era. It
:00:46. > :00:48.
:00:48. > :00:56.Also on the show, Clemency Burton Hill talks to sack -- Zach Braff as
:00:56. > :01:00.he Scrubs up for the London stage. Charlie Luxton delves into the
:01:00. > :01:05.darker side of architect Nicholas Hawksmoor.
:01:05. > :01:10.Alastair sick goes dotty for a Japanese artist Yayoi Kusama. --
:01:10. > :01:16.Alastair six. Mark Kermode and Geoff Dyer journey
:01:16. > :01:20.into the cult world of Russian classic Stalker.
:01:20. > :01:23.Singer Emeli Sande performs live for us and chaps took Miranda
:01:23. > :01:32.Sawyer about taking her place in the limelight.
:01:33. > :01:39.Michael Smith discovers that some things in life are free.
:01:39. > :01:43.But first, the reason why we are here. An ambitious new exhibition,
:01:43. > :01:48.more than 100 works by the late Lucian Freud and the first to focus
:01:48. > :01:58.solely on his portraits, those whom he collectively described as the
:01:58. > :02:00.
:02:00. > :02:03.The world of Lucian Freud was one of extremes. He was an
:02:03. > :02:08.uncompromising reclusive painter. And yet his portraits managed to
:02:08. > :02:17.capture not just the truth of what he called the Human Animal, but
:02:17. > :02:21.something of the human artist as well. Nowhere more so than in his
:02:21. > :02:29.powerfully strange self-portraits, which punctuate the show from first
:02:29. > :02:35.to last. Born in Berlin in 1922, the grandson of Psycho analysts
:02:35. > :02:41.Sigmund Freud, he had and idyllic childhood shattered by the rise of
:02:41. > :02:46.the Nazi party. His Jewish family fled to London in 1933 and a strong
:02:46. > :02:51.feeling of dislocation is palpable and much of his early work. Here we
:02:51. > :02:55.have his very self -- very first self portrait, painted when he was
:02:55. > :03:01.21. It is a reminder that yes, he is a realist but from the start he
:03:01. > :03:06.was a surrealist, an existentialist, a painter of the human condition,
:03:06. > :03:09.fundamentally one of solitude, known as, vulnerability. It is a
:03:09. > :03:15.picture of curious enigmatic details, most of which Freud
:03:15. > :03:22.deliberately did not explain, these are iceberg shape floating past him,
:03:22. > :03:26.this bird and the strange silhouette tick -- silhouetted bird.
:03:26. > :03:30.The only thing he did half explain was this further he which he holds
:03:30. > :03:39.in his left hand. He said it was given to him by one of his earliest
:03:39. > :03:44.lovers. Freud's love of women was almost as legendary as his love of
:03:44. > :03:50.painting. Over the decades he married twice, had numerous lovers
:03:50. > :03:55.and fathered 14 children. This double portrait of Freud with his
:03:55. > :04:00.second wife, Lady Caroline Blackwood, was the last he painted
:04:00. > :04:04.in the tight, nervy style of his youth. It is a dispassionate,
:04:04. > :04:09.remote picture, bordering on the cruel. In fact, Lady Caroline
:04:09. > :04:14.herself said she was dismayed to be painted at just 22 as so
:04:14. > :04:18.distressing the old. Freud was as interested in the criminal
:04:18. > :04:23.underworld as he was in the aristocracy. He would paint for
:04:23. > :04:29.long hours every day and then head out to the bars of Soho to unwind.
:04:29. > :04:32.It was a routine which left little time for his children. Freud often
:04:32. > :04:39.placed his own distinctly unconventional family relations at
:04:39. > :04:43.the heart of his work. Nat -- never more so in this picture. It is a
:04:43. > :04:48.microcosm of Freud's rather messy private life. There are two
:04:48. > :04:52.different lovers, two different children. Down here is a postie one
:04:52. > :04:59.of Freud's grandchildren but she was unavailable so he had to borrow
:04:59. > :05:04.a local child. He was known to take months, perhaps even years to paint
:05:04. > :05:07.a picture like this and indeed, sitting for him was one of the few
:05:07. > :05:11.ways that Freud's children ever got to spend much time with him.
:05:11. > :05:16.Nonetheless, there is still that pervasive sense of alienation. His
:05:16. > :05:24.style might have changed but his approach and few of the human
:05:24. > :05:29.condition remains the same. One of the most famous monumental of
:05:29. > :05:33.Freud's paintings is that of Sue Tilley, the eponymous Big Sue of
:05:34. > :05:43.Benefits Supervisor Sleeping, which set the world record in 2008 of the
:05:43. > :05:48.highest price paid by a painting by a living artist, �17.2 million. Sue
:05:48. > :05:52.had been introduced by her close friend Leigh Bowery to Freud. Often
:05:52. > :05:57.with Freud's sitters, you have a sense that they are very much his
:05:57. > :06:01.creatures, that he is the chess player doing what he wants with
:06:01. > :06:07.them. When he painted the Australian performance artist, Lee
:06:07. > :06:10.Parry, that was not the case. In these pictures, you have a sense of
:06:10. > :06:14.artist and sitter collaborating, almost battling with each other --
:06:14. > :06:19.Leigh Bowery. He took his own control of the situation from the
:06:19. > :06:24.start. He did not ask Freud but they wanted him to painting clothed
:06:24. > :06:30.or naked. When Freud came back, he had stripped off. He did not make
:06:30. > :06:37.things easy for himself either. Imagine having to hold that pose
:06:37. > :06:42.for months on end. Freud and Leigh Bowery shared an anarchic sense of
:06:42. > :06:47.humour and a love of London's underworld. The pair often dined
:06:47. > :06:52.together. Freud would entertain Leigh Bowery with tales of his
:06:52. > :06:56.nocturnal exploits. Freud's assistant, David Dawson, saw the
:06:56. > :07:02.paintings come to life and eventually sacked for Freud himself.
:07:02. > :07:08.The thing that puzzles me most about the picture of you is not why
:07:08. > :07:13.are you holding the dog, why are you lying -- lying in that position
:07:13. > :07:20.but whose are these legs poking out from underneath? They are my knees,
:07:20. > :07:24.my legs. They are an echo of my knees line on the bed. Because it
:07:24. > :07:29.is such a tall, long painting, we were trying to make the painting
:07:29. > :07:33.work visually by having some life at the bottom of the painting.
:07:33. > :07:38.that is you twice but there is something sinister about it.
:07:38. > :07:44.think it is Joe Keay. You might almost be expiring with your dog on
:07:44. > :07:48.the bed and there you are having been covered by the funeral drape
:07:48. > :07:52.underneath. It is the passage of all life. It is very arresting. I
:07:52. > :07:57.don't think his paintings are about death, I think they are completely
:07:57. > :08:02.about life. They are totally life- affirming. I think there is so much
:08:02. > :08:08.humanity in them that it is about what it is to be alive. This
:08:08. > :08:12.exhibition reveals, for the first time, Freud's Point in the
:08:13. > :08:19.unfinished final work. I gather there is a documentary which shows
:08:19. > :08:26.some footage of Lucian Freud working. Yes, there is. Throughout
:08:26. > :08:32.my friendship, I had always taken still photographs. As technology
:08:32. > :08:37.improved, in my digital camera is a little movie camera. I have film of
:08:37. > :08:46.him painting as I am sitting. Painting you? Yes. So you are
:08:46. > :08:51.seeing what I am seeing. If you could move forward. Aged 88, this
:08:51. > :08:58.was Freud's last day at work. And that is the only known footage of
:08:58. > :09:08.him? Yes, it is. It is a good thing to have caught. I think it is
:09:08. > :09:09.
:09:09. > :09:14.proper, yes. The exhibition continues until the
:09:14. > :09:18.end of May. Do watch out for that fascinating documentary by Lucian
:09:18. > :09:22.Freud which will be broadcast on BBC2 in the next few weeks.
:09:22. > :09:27.From portraits of individuals painted on canvas, to that vast
:09:27. > :09:31.virtual image of modern society that is the internet. Journalist
:09:31. > :09:39.Aleks Krotoski looks into the evolving face of the Web 2.0 find
:09:39. > :09:44.out what it says about who we are. The founders of the Web had a dream,
:09:44. > :09:48.they imagined a global cyber-utopia founded on the ethos of free
:09:48. > :09:52.information for all. But the problem with this vision is it
:09:52. > :09:57.assumes that we are all one people with the same shared ideals. But we
:09:57. > :10:02.are not. The weather is not neutral. It mirrors the values of those of
:10:02. > :10:06.us who go on line and it reflects the ideologies of those who build
:10:06. > :10:12.its services -- the web is not neutral.
:10:12. > :10:16.Jimmy Wales of Wikipedia believes shared information promotes
:10:17. > :10:22.democracy. Mark Zuckerberg, founder of Facebook, says privacy is dead.
:10:22. > :10:25.And Larry Page and Sergey Brin from Google have decided the most
:10:25. > :10:30.valuable information should be determined and filtered by the
:10:30. > :10:38.crowd. These are profoundly political positions immersed in
:10:38. > :10:41.democratic Western ideas. The Web that the majority of us recognise
:10:41. > :10:45.and use in the English-speaking Western world, has characteristics
:10:45. > :10:51.about ideological and cultural values. But the internet's centre
:10:51. > :10:57.of gravity is quickly shifting away from the West. A new internet world
:10:57. > :11:03.is coming on line. Of the 2 billion internet users, 272 million are in
:11:03. > :11:07.North America, more than three- quarters of their population. But
:11:07. > :11:13.China has 485 million internet users, the biggest number of any
:11:13. > :11:17.country and that is still only a third of its population. This
:11:17. > :11:23.burgeoning and colossal online community does not access the
:11:23. > :11:27.western Web but has developed its own home-grown website like Baido,
:11:27. > :11:30.Ten Cent and Sino Weibo. But perhaps the greatest difference, at
:11:30. > :11:35.least like our Western perspective, is the degree to which China's
:11:35. > :11:39.internet is controlled by government censorship, referred to
:11:40. > :11:46.as the Great Firewall. It is the perfect example of how technology
:11:46. > :11:49.can be imbued with an ideology, in this case of top-down control. That
:11:49. > :11:54.perception of censorship, how or where are the Chinese people of
:11:54. > :11:59.this? First of all, if you go to China and ask the average internet
:11:59. > :12:06.users, I would say a big proportion of them probably do not care that
:12:06. > :12:11.much. Not everyone is a political dissident desperately trying to
:12:11. > :12:17.access all those sense of websites. You have to think about what
:12:17. > :12:21.internet users on a daily basis used this platform for. E-commerce
:12:21. > :12:26.and entertainment and also News. Secondly, it is problematic because
:12:26. > :12:33.you really miss a lot of what is going on on the Chinese internet
:12:33. > :12:38.which is such a diverse and vibrant space.
:12:38. > :12:43.The Chinese internet may exist in unique isolation from the rest of
:12:43. > :12:47.the virtual world but it is not necessarily that different. Access
:12:47. > :12:52.to information in the West is also filtered and control. Consider last
:12:52. > :12:58.month's action by Wikipedia which black itself out in protest over
:12:58. > :13:03.proposed US anti-piracy laws. All controls -- attempts by governments
:13:03. > :13:09.to control WikiLeaks. I remember not long before WikiLeaks, Hillary
:13:09. > :13:13.Clinton made a speech about the importance of freedom of
:13:13. > :13:19.information on the internet. If you contrast that with the US
:13:19. > :13:24.government's reaction to WikiLeaks. You can have freedom of information,
:13:24. > :13:29.except for you. Yes. Well the West has been focusing on the perceived
:13:29. > :13:34.difference of the Chinese internet, less attention has been paid to new
:13:34. > :13:38.online communities from elsewhere in the world. Could their presence
:13:38. > :13:40.change the global digital culture? Global voices on wine is an
:13:41. > :13:50.international network of bloggers who cover stories from around the
:13:51. > :13:52.
:13:52. > :13:57.world -- global voices online. It was co-ordinated by a Ethan
:13:57. > :14:04.Zuckerman. I will call him in his office in Boston by Skype. How are
:14:04. > :14:08.you? I am fine. You have spent time in Africa and work with African
:14:08. > :14:12.technology companies for a long time, and I am wondering as the
:14:12. > :14:17.next million users in Africa start to come on line, how they use of
:14:17. > :14:21.the Web is going to affect me. Where I think it is important that
:14:21. > :14:26.technology is getting built in Africa, is not that we are suddenly
:14:26. > :14:29.going to have distinctly African technology with a distinctly
:14:30. > :14:34.African vibes, I think that is a bit essential list, I think it is
:14:34. > :14:38.great but we start acknowledging that Africans are building and
:14:38. > :14:44.using cultural -- advanced technology because then we will pay
:14:44. > :14:48.more attention. Nearly a third of the world's population is on line.
:14:48. > :14:54.India has 100 million users, Brazil almost 76 million and Russia 60
:14:54. > :14:57.million. And yet, in these emerging economies, the number of people on
:14:58. > :15:02.line is still a relatively small proportion of their populations.
:15:02. > :15:06.But the potential for growth in these countries is enormous.
:15:06. > :15:10.Radically changing the profile of who has access to the Web and how.
:15:10. > :15:14.Today, the great revolution is that countries who do not have the
:15:14. > :15:20.infrastructure to support the internet in terms of laptops and so
:15:20. > :15:24.on, have mobile phones. But I see a very quick transition in the next
:15:24. > :15:29.few years to people all over the world from Africa, to India, to
:15:29. > :15:33.South America, Central America, converting those phones into
:15:33. > :15:36.smartphones. That means suddenly they have access to an immense
:15:36. > :15:41.amount of information which was impossible to get the four. What
:15:41. > :15:45.effect will that have won my use of the Web? What we cannot fathom is
:15:45. > :15:51.the immense creativity that is lurking out there. This next
:15:51. > :15:54.billion, who knows how many ideas. Even if there are only 50 ideas out
:15:54. > :16:00.of a billion. That is an enormous amount. More ways of communicating
:16:01. > :16:04.I think it's quite possible that you won't notice the next billion
:16:04. > :16:08.who come onto the web, and the reason for that is that as we get
:16:08. > :16:18.more people on the web we actually seem to spend more and more time
:16:18. > :16:18.
:16:18. > :16:21.with people who we are culturally close to. It's as if right now
:16:21. > :16:25.we're all standing sort of in one very narrow aisle of the record
:16:25. > :16:28.store and essentially saying, you know, I grew up in the land of jazz,
:16:28. > :16:31.so I'm not going to listen to anything other than Dixieland. And
:16:31. > :16:39.you know, there's this giant swath of possibility around us on all
:16:39. > :16:42.sides. We need to build systems. We need to build structures. We need
:16:42. > :16:45.to find all sorts of ways to make it possible to encounter that wide
:16:45. > :16:48.world. 40 years on from the birth of the internet, and despite the
:16:48. > :16:52.dreams of its forefathers, there is no one internet culture that
:16:52. > :16:54.connects us all, but many. And as we move forward in the 21st century,
:16:54. > :16:57.cyberspace will become more complex and parochial, more messy and
:16:57. > :17:02.interesting. We can only wait to see how the next billion online
:17:02. > :17:12.users will shape and change how we make sense of our world.
:17:12. > :17:15.
:17:15. > :17:17.That's enough of a high-tech vision of the future for now. Next we turn
:17:17. > :17:27.to the past and to the concrete realities of architecture. Simple,
:17:27. > :17:31.
:17:31. > :17:34.solid stuff - or is it? The great English Baroque architect Nicholas
:17:34. > :17:37.Hawksmoor, who started off as an assistant to Sir Christopher Ren,
:17:37. > :17:40.is both a celebrated and a scandalous figure. He's also the
:17:40. > :17:42.subject of a revealing new exhibition at the Royal Academy. We
:17:42. > :17:46.sent Charlie Luxton on a tour of Hawksmoor's London churches to
:17:46. > :17:48.delve deeper into this most mercurial of architectural minds.
:17:48. > :17:54.Keeping a watchful eye over London's higgledy-piggledy
:17:54. > :17:57.landscape loom these brooding creations. Each one conjured from
:17:57. > :18:00.the mind of an architect some believe to be the greatest England
:18:00. > :18:03.ever produced. Eclipsed in his own lifetime by his
:18:03. > :18:13.more fashionable peers, today his reputation as a true architectural
:18:13. > :18:13.
:18:13. > :18:18.original has never been stronger. As has speculation surrounding his
:18:18. > :18:23.involvement with other, darker forces.
:18:23. > :18:27.Nicholas Hawksmoor was born in Nottingham around 350 years ago.
:18:27. > :18:33.But the dark rumours that shadow him today only merged long after
:18:33. > :18:38.his death. By the age of 18, he was employed as clerk to Sir
:18:38. > :18:42.Christopher Wren, the baroque colossus who built St Paul's
:18:42. > :18:47.Cathedral. Wren's protege, Hawkmoor, rose steadily through the ranks and
:18:47. > :18:51.had a hand in St Pauls, but he was to wait many years before his own
:18:52. > :18:55.talents were allowed free reign. In 1711, Parliament approved the
:18:56. > :18:59.construction of 50 new churchs to serve the rapidly expanding
:18:59. > :19:03.population on London's fringes. Nicholas Hawksmoor was one of the
:19:03. > :19:09.men appointed to build them. Although he would complete only six,
:19:09. > :19:17.Hawkmoor's London churches would come to define his artistic and
:19:17. > :19:20.architectural gifts. In all the years spent mastering his trade,
:19:20. > :19:24.Hawkmoor devoured everything he could about architectural history.
:19:24. > :19:29.He was inspired by the monuments of ancient Egypt, Syria, Greece and
:19:29. > :19:33.Rome. This interior says an awful lot
:19:33. > :19:37.about Hawkmoor's approach because to design it, he's gone back to the
:19:37. > :19:40.basics to the simple geometry of the ancients, of the cube, the
:19:40. > :19:44.square, and this is an architectural language almost
:19:44. > :19:48.foreign in the 18th century, but he's brought that together with
:19:48. > :19:54.real creativity and imagination, so for example here you have a really
:19:54. > :19:58.simple, unadorned Romanesque arch. Sat next to it you have these
:19:58. > :20:02.decorative squashed baroque art. So it's the ancient and the modern. It
:20:02. > :20:06.is rigour and creativity. But some suggest the prominence of cube
:20:06. > :20:12.shapes in his work has another explanation. Hawkmoor is alleged to
:20:12. > :20:17.have been a Free Mason, and the frat eternity's symbolic imagery
:20:17. > :20:21.reflects members' desires to square actions by the square of virtue.
:20:21. > :20:30.Outside, the architectural pick and mix continues - the dramatic front
:20:30. > :20:36.portico was based on the Temple of Jupiter at Babeck in Lebanon, and
:20:36. > :20:42.this curious stepped pyramid is a tribute to the mausoleum at
:20:42. > :20:52.Halicarnassus. A few miles further east lies St Mary's Woolnoth, the
:20:52. > :20:57.smallest of Hawkmoor's churches. Once again, masonic or otherwise,
:20:57. > :21:03.there is a bold central square, but here each corner throws up triplets
:21:03. > :21:08.of corn inthreean columns. He is fascinated with the dramatic
:21:08. > :21:13.possibilities of light and shade in his designs. And no-where is that
:21:13. > :21:17.skill better demonstrated than here at St Mary's. This is a tiny jewel-
:21:17. > :21:22.like building, and what makes it so special is the quality of light.
:21:22. > :21:29.The interior is dominated by this large central lantern on which each
:21:29. > :21:33.face has a lunette window,an and it provides an ethereal quality of
:21:33. > :21:43.light that you would never imagine looking at that grimy, quite squat
:21:43. > :21:48.
:21:48. > :21:53.A short walk deeper into the old East End leads you to Hawkmoor's
:21:53. > :21:58.imposing Kris Church, Spitalfields. He designed this portico to instil
:21:58. > :22:04."terror and magnificence" upon all of those who saw it.
:22:04. > :22:08.Given his enthusiasm for pagan symbols like pyramids and his Free
:22:08. > :22:13.masonry, it's little wonder that in more modern times some have read a
:22:13. > :22:19.more subversive significance into his work. He's even been labelled
:22:19. > :22:25."the Devil's Architect". Ian Sinclair was one of the first to
:22:25. > :22:30.reimagine a more fiendish Hawkmoor in his 1970s poem Lud Heat. When I
:22:30. > :22:34.was in the '60s and '70s doing labouring jobs in East London, the
:22:34. > :22:40.thing that hilt you straight away is these were like great ocean
:22:40. > :22:45.liners moored in the lake of the east - St Ann's Limehouse, St
:22:45. > :22:48.George in the east and Spitalfields. So I started to formulate a weird
:22:48. > :22:55.theory there was an interconnection with the buildings and you could
:22:55. > :23:02.make patterns with the lay lines. It became almost a cult. In recent
:23:02. > :23:10.times almost a school of occult writing has grown up out of this.
:23:10. > :23:14.Peter Akroyd's historical thriller Hawkmoor depicts ritual human
:23:14. > :23:22.sacrifice under the buildings while Alan Moore's grak novel From Hell
:23:22. > :23:28.connects Hawkmoor and The Ripper, free masonry and the monarchy in
:23:28. > :23:32.elaborate Victorian conspiracy. beguiling as some of the more
:23:32. > :23:36.speculative theories might be they are pure fantasy. But they do
:23:36. > :23:43.emphasise the inspirational quality of Hawkmoor's weird buildings.
:23:43. > :23:46.Keeping a watchful eye over London's landscape looming these
:23:46. > :23:50.brooming creations. These buildings are so powerful in themselves they
:23:50. > :23:54.have created this cult. It's nothing to do with Hawkmoor,
:23:54. > :23:58.literally the architecture. We have reinvented Hawkmoor as a fictional
:23:58. > :24:03.version of himself because he's unknowable. Really in a sense
:24:03. > :24:08.Hawkmoor could disappear entirely, which is the ultimate triumph of an
:24:08. > :24:12.architect, whereas the structures he's left behind are monumental and
:24:12. > :24:19.extremely significant. As beguiling as some of the more speculative
:24:19. > :24:22.theories may be, they are nonetheless pure fantasy. But they
:24:22. > :24:28.do emphasise the profind inspirational quality of Hawkmoor's
:24:28. > :24:32.weird and wonderful buildings. He is for me without doubt one of the
:24:32. > :24:41.real greats of British architecture. And Nicholas Hawksmoor, architect
:24:41. > :24:46.of the imagination, is at the Royal Academy until June 17. Next we turn
:24:46. > :24:50.to Scottish singer Emeli Sande. She's now widely tipped as the
:24:50. > :25:00.voice of 2012. Miranda Sawyer went to meet her to find out how it
:25:00. > :25:02.
:25:02. > :25:07.feels finally to be in the limelight. To say that Emeli Sande
:25:07. > :25:11.is a high achiever is an understatement. Inspired by Nina
:25:11. > :25:15.Simone, she wrote her first song when she was just eight years old,
:25:15. > :25:23.was discovered at 16 and was so gifted, she was instantly offered a
:25:23. > :25:29.record deal, every teenager's dream. Instead, she decided to take some
:25:29. > :25:32.time out to become a doctor. She studied clinical neer neuroscience
:25:32. > :25:36.at Glasgow University while writing songs for other people in her spare
:25:36. > :25:43.time. She's penned tracks for mainstream
:25:44. > :25:49.popstars like Cheryl Cole, Leona Lewis and Susan Boyle. She's
:25:49. > :25:55.collaborated with Godfather of Grime, Wylie.
:25:55. > :26:05.Had a number one hit with Professor Green and worked with up-and-coming
:26:05. > :26:12.
:26:12. > :26:18.super-producer Naughty Boy on Daddy. I heard you wrote someone when you
:26:18. > :26:22.were eight. Can you sing it to us? It was about an alien from space.
:26:22. > :26:28.Of course. You were eight. That's why I am not going to sing it.
:26:28. > :26:32.memory of your family sent a CD out? My mum was sending CDs out to
:26:32. > :26:36.radio stations. That's a proper mum! Yes. And she also sthemt
:26:36. > :26:39.video-tape of me singing at the piano at home. She sent it to
:26:40. > :26:42.London. There was a Trevor Nelson talent search he was doing. To I
:26:42. > :26:46.won that. That was my first kind of insight into the industry, me
:26:46. > :26:51.coming from quite a small town this Scotland, it was all so much and so
:26:51. > :26:56.fast. So what happened after that? You got management, is that right?
:26:56. > :26:59.Yes. That's when I found my managers. They actually flew up to
:26:59. > :27:03.Aberdeen and... How was that? were really excited. We were like,
:27:03. > :27:06.I wonder what they look like. My dad was really strict. He put a
:27:06. > :27:10.Dictaphone on the table to make sure he knew what they were saying.
:27:10. > :27:16.I'm glad he did. At the time, I was so embarrassed, but now it's so
:27:16. > :27:26.important to be protected. # Maybe I'm too quiet for you
:27:26. > :27:33.
:27:33. > :27:37.# You probably never notice me # # Follow me
:27:37. > :27:47.# I'll be your river, river # I'll do did running for you
:27:47. > :27:50.
:27:50. > :27:54.# Follow me # You could have signed a record deal
:27:54. > :27:58.straight away, didn't you, but you decided not to? Yeah, there wasn't
:27:59. > :28:05.- because I'd already been accepted to study medicine, it was there. I
:28:05. > :28:10.did four years. I graduated in clinical neuroscience. Which sounds
:28:10. > :28:13.incredible. It's interesting to me because things like research and
:28:14. > :28:17.medicine to me are a very different way of using your brain than in a
:28:17. > :28:21.creative way. It was definitely one or the other. When I studied
:28:21. > :28:26.medicine, I just found it very hard to be creative or to write. I found
:28:26. > :28:29.that very difficult, and now I find it quite hard to be scientific and
:28:29. > :28:33.to be organised, so I think it's one or the other. I would love to
:28:33. > :28:38.find a middle ground. A singing doctor... Done!
:28:38. > :28:42.LAUGHTER So you've written for - A Love for
:28:42. > :28:47.the People. Is that part of your plan? Did you think what I am going
:28:47. > :28:50.to do is work with other people, then strike out for myself?
:28:50. > :28:54.wasn't the plan from the very beginning. I always planned to be
:28:55. > :28:58.my own artist, but when we wrote for Chipmunk, someone hears about
:28:58. > :29:06.that then you write for someone else. It kind snowballs, and before
:29:06. > :29:11.you know it, you're a songwriter. # Because I know diamond rings - #
:29:11. > :29:14.It really got to a point where I thought even though this life is
:29:14. > :29:19.great, you need to remember performing and representing your
:29:19. > :29:23.own work is really special. Did you ever put a song out and nobody
:29:23. > :29:25.wanted it and you thought, I'll have it then? Yeah, sometimes it
:29:25. > :29:29.has been a blessing in disguise because you get to a point where
:29:29. > :29:33.you want your songs to be used so much, and you forget, these songs
:29:33. > :29:38.are great, and they sound great - you singing them, and if someone
:29:38. > :29:42.didn't want the song, like River, then it was just such - I'm so
:29:42. > :29:46.happy that no-one wanted it because I love it, and it's one of my
:29:47. > :29:53.favourites on the album, so yeah, I'm kind of glad that happened.
:29:53. > :29:57.# I'll be your river, river # I'll move the mountains for you
:29:57. > :30:07.# Follow me # I'll be your river, river
:30:07. > :30:15.
:30:15. > :30:22.# I'm here to keep you floating And Emeli Sande's new album is out
:30:22. > :30:27.next Monday. Still to come: Scrubs star Zach Braff, Mark Kermode on
:30:27. > :30:34.Andrei Tarkovsky's classic film Stalker and Michael Smith on a free
:30:34. > :30:38.art. But next, Japanese conceptual artist Yayoi Kusama has had an
:30:38. > :30:43.astonishingly long and prolific career. Now 83 she is still as
:30:43. > :30:50.vigorously productive as when she first started showing how a
:30:50. > :30:56.counter-culture creations in New York back in the 1980s. A big new
:30:56. > :31:01.retrospective is starting at Tate Modern.
:31:01. > :31:06.The Princess of polka dots has produced an amazing and dizzying
:31:06. > :31:14.range of work over her 60 year long career. Abstract paintings,
:31:14. > :31:21.sculptures, collages, installations, happenings, films, fashion and
:31:21. > :31:26.poetry. All very colourful, playful and seemingly joyful works. But
:31:26. > :31:31.appearances can be deceptive. Like Alice in Wonderland, her work is
:31:31. > :31:35.rooted in darker stuff. Imagine being a child, looking at a
:31:35. > :31:40.patterned table cloth covered with large red flowers and then looking
:31:40. > :31:44.up at the floors and ceilings and seeing that same pattern endlessly
:31:44. > :31:49.repeated there. Quite weird. May be an optical illusion, tired by his
:31:49. > :31:53.playing tricks on you. Until you look at your own body and you see
:31:53. > :31:59.that same pattern endlessly repeated there as well. As a 10-
:31:59. > :32:04.year-old, that must be pretty terrifying. But it was precisely
:32:04. > :32:08.these hallucinations which saw the flowering of her extraordinary work.
:32:08. > :32:13.Yayoi Kusama herself has always been clear about what Hart art
:32:13. > :32:19.means to her. If it were not to art, I would have killed myself a long
:32:19. > :32:24.time ago, she has written. Yayoi Kusama has suffered from severe
:32:24. > :32:29.mental illness or her life. She lives voluntarily in a psychiatric
:32:29. > :32:34.hospital in Japan. For her, creating those hallucinations is a
:32:34. > :32:39.way of controlling her obsessive anxieties and fears. I am
:32:39. > :32:45.determined to create a Yayoi Kusama world, she wrote. So now time to
:32:45. > :32:50.enter her world. I feel a little bit like Alice in Wonderland about
:32:50. > :32:54.to tumble down into the rabbit hole. I am not entirely sure what I will
:32:54. > :33:00.discover. Entering the first room in the exhibition, her early work
:33:00. > :33:05.is surprisingly muted but what promises to be -- joining us on
:33:05. > :33:15.what promises to be a sensory trip, are three women of her generation.
:33:15. > :33:19.What do you think? I do think it is very Japanese. It reminds me of the
:33:19. > :33:24.fabrics they do with tie-dye with the dogs. For me, I think it is
:33:24. > :33:29.quite instructive to think of these paintings in terms of the context.
:33:29. > :33:34.Here is a woman who is not yet 30, who does not speak English, who
:33:34. > :33:39.arrives in New York and wants to take on the art establishment, the
:33:39. > :33:42.avant-garde who were there in America, essentially people at
:33:42. > :33:48.Pollock, the Abstract Expressionists. She has created
:33:48. > :33:53.these enormous paintings. This is big. Death to the horizon. There is
:33:53. > :33:58.no horizon. What people say about the classic work like Pollock is it
:33:58. > :34:07.is pretty macho. This does not necessarily feel macho to me. What
:34:07. > :34:12.do you think? It is said, Jackson Pollock is just an ejaculation all
:34:12. > :34:16.over a canvas. And you cannot say that about this. But it is
:34:16. > :34:24.certainly much more all enveloping rather than an assault on the
:34:24. > :34:28.censors. One art historian gets quite excited and imagines, if this
:34:28. > :34:35.is -- if Jackson Pollock is an ejaculation, this is more of a
:34:35. > :34:45.female organ out -- female orgasm. It is rather subtle, isn't it.
:34:45. > :34:49.is a piece, it is called Aggregation: 1,000 boats show.
:34:49. > :34:55.is an expression of protrusions. She was very anxious about the male
:34:55. > :34:59.sex organ, she said. She is confronting her innermost fears.
:35:00. > :35:04.what UC here is clearly one of the earliest installations. It is not
:35:05. > :35:08.just one work here, it is a wholly a mercy of environment. There are
:35:08. > :35:14.pictures of the boat repeated on the floor and the ceiling.
:35:14. > :35:19.Repetition, repetition, repetition. Andy Warhol. Totally. He saw this
:35:19. > :35:28.and a few years later he made some wallpaper of his own. She is
:35:28. > :35:33.pioneering. She is way ahead of Warhol. In here, we see something
:35:33. > :35:40.completely different again. It is a film Yayoi Kusama made in the night
:35:40. > :35:44.60s. It is called Self Obliteration. It's hard to make out what it is.
:35:44. > :35:49.We see these happenings where she gets people to take their clothes
:35:49. > :35:53.off. Partly because she is tapping into the counter-culture. She
:35:53. > :35:58.became the high priestess of the hippie movement. Patricia, you were
:35:58. > :36:02.living in New York at the time. Do you remember the flower children?
:36:02. > :36:09.absolutely do. They were fabulous and really against the Vietnam war.
:36:09. > :36:15.Make love, not a war. That appeals to me a lot. It is politicised,
:36:15. > :36:21.isn't it. Do you think of it as shocking or a record of an
:36:21. > :36:26.intoxicating time to be young, alive and a woman. I think it is a
:36:26. > :36:31.great time to be fun and vigorous. Looking at this, for you, feels
:36:31. > :36:38.quite natural. I wouldn't say it was quite like that! What is going
:36:38. > :36:47.on here? It is an orgy. Phallic fields. That is not somebody who is
:36:47. > :36:57.afraid of the phallus any more. It is contradictory. She never partook.
:36:57. > :37:01.She is a voyeur. So, this is a piece which she has made especially
:37:01. > :37:06.for this show. It is one of the Mirror rooms which she has been
:37:07. > :37:14.making a while but this is made specially for the Tate. There is
:37:14. > :37:19.water there say have reflections of glowing bulbs. How amazing! It is
:37:19. > :37:23.like a cityscape. Repeated and repeated. Do you think there is any
:37:23. > :37:29.sense that you have finally stumbled into her head? Certainly
:37:29. > :37:34.infinity. And beyond! It reminds me of when you are a child and you see
:37:34. > :37:37.the mirrors on a dressing table and you see yourself reflected and
:37:37. > :37:42.reflected and reflected. When you do start thinking about infinity
:37:42. > :37:47.because you realise there are more images of yourself, it is that kind
:37:47. > :37:52.of infinity feeling. I feel like in her personal journeys somehow she
:37:53. > :38:02.has resolved something and at 82, I hope she has! There is much more
:38:03. > :38:08.
:38:08. > :38:13.calming this. Yes. There is an That show continues at Tate Modern
:38:13. > :38:21.and will 5th June. From Yayoi Kusama's dazzling spectacle and
:38:21. > :38:27.told -- to a distinctly dark comedy, a new play written and performed by
:38:27. > :38:33.American actor Zach Braff, better known for his work in the comedy
:38:33. > :38:40.Scrubs. Clemency Burton Hill met him to discuss his distinctly
:38:40. > :38:45.idiosyncratic sense of humour. A suicide attempt may be an
:38:45. > :38:49.unlikely opening to a comedy drama but Zach Braff's creative
:38:49. > :38:55.imagination has been provocative from the start. He found fame as
:38:55. > :39:01.messed-up medic JD in the darkly comic television series, Scrubs.
:39:01. > :39:07.But he also earned his stripes off camera, writing, directing and
:39:07. > :39:13.starring in the indie hit Garden State. This is my friend Andrew.
:39:13. > :39:17.is nice to meet you. Nice to me you. Not content with scaling the
:39:17. > :39:22.heights of Film and Television, Zach Braff is swapping the screen
:39:23. > :39:26.for the stage in his latest incarnation as a playwright. He has
:39:26. > :39:33.brought his production All New People from New York to the UK and
:39:33. > :39:37.has taken on the lead role for the first time. Nice to meet you!
:39:37. > :39:43.are the chief of the fire department? Why are you surprised?
:39:43. > :39:48.Because you obviously have a drug problem. It is not a problem for me.
:39:48. > :39:56.The comedy tackles the existential angst of a thirtysomething man
:39:56. > :39:59.whose arrival -- whose existence is entrusted with the arrival of some
:40:00. > :40:04.people. I know the play opens with an
:40:04. > :40:11.attempted suicide, it does not sound very funny. Thanks. I guess I
:40:11. > :40:17.sold one ticket. No, I am kidding. I love to play with the dark. My
:40:17. > :40:20.family, we have always been people who in the darkest times of
:40:20. > :40:26.whatever family drama we were going through, we would make a joke.
:40:26. > :40:30.Someone would laugh, someone would release the tension with humour. I
:40:30. > :40:35.like art like that. This does open with someone who is about to
:40:35. > :40:40.attempt suicide, but it is a comedy and it quickly devolves into a
:40:40. > :40:45.little bit of mayhem. But I think people really enjoy that. Even if
:40:45. > :40:49.you look at Scrubs, it was the broadest of comedies at times. At
:40:49. > :40:52.the same time, you come out of a fantasy and the young doctors go
:40:52. > :40:57.around the corner and then they are dealing with the death of a patient
:40:57. > :41:01.and it was played completely straight. I have had some good
:41:01. > :41:11.experiences with being able to operate in that genre. Welcome to
:41:11. > :41:21.our humble abode expert cool I like your accent. Do you guys have any
:41:21. > :41:24.
:41:24. > :41:29.drugs? No, stop taking off your coat. Get the hell out! We are not
:41:29. > :41:34.having a party eczema do you think you are inviting the audience to
:41:34. > :41:39.look at where Zach ends and Charlie begins?
:41:39. > :41:44.No, I'm not suicidal, thank God, but I have dealt with a lot of
:41:45. > :41:48.these themes in my play. There are these themes in my other work,
:41:48. > :41:53.isolation and loneliness and searching for companionship. I
:41:53. > :41:58.guess the themes in this play about love but not romantic love. It is
:41:58. > :42:08.more focused on companionship and love or friendship and how, at our
:42:08. > :42:12.
:42:12. > :42:15.lowest points, you can be rescued by a love. -- rescued by love. But
:42:15. > :42:21.is something I like to daydream about.
:42:21. > :42:25.Before, I do anything I could do to avoid being a lone. I always had to
:42:25. > :42:31.be scrolling through my phone looking for someone to text. In
:42:31. > :42:36.line for coffee or a car, I was always talking or texting some one.
:42:36. > :42:41.Are you lonely, Charlie? Of course, I know only. Then why are you
:42:41. > :42:45.trying so hard to get rid of us? All New People is set to take on
:42:45. > :42:51.London's West End but it will not be his first time in the theatrical
:42:51. > :42:59.spotlight. He has had Stateside so birth -- Stateside success as a
:42:59. > :43:03.bastion in Twelfth Night and worked in the comedy Trust.
:43:03. > :43:07.Are we likely to see you in the Royal Shakespeare Company at any
:43:07. > :43:10.point doing your finest British accent? I don't know if I would
:43:11. > :43:17.have the courage to bring Shakespeare over here. I have done
:43:17. > :43:23.three Shakespearean shows but I do not know if I could do it in the UK.
:43:23. > :43:27.Can you give us a little...? Giving your huge success on
:43:27. > :43:30.television and film, there will be a lot of scrutiny of this play and
:43:30. > :43:35.London theatre critics are notoriously tough so presumably it
:43:35. > :43:40.was more personal when you rate the show and you are starring in it?
:43:40. > :43:45.Sure, it is personal to me. It is a large piece of who I am and what I
:43:45. > :43:48.think about. There will be people who love it, people who won't but
:43:48. > :43:54.hopefully, at the very least, there will be people who can relate and
:43:54. > :44:00.say, I see myself in these people. Isn't this what you want? You say
:44:00. > :44:07.you are lonely but here you are, surrounded by people. Maybe it is
:44:07. > :44:14.like being bone tired, you feel bone lonesome. That is actually a
:44:14. > :44:17.good way to put it. And All New People is currently
:44:17. > :44:22.playing at the Manchester Opera House before transferring to
:44:22. > :44:27.Glasgow and London. The writer deaf trier -- Geoff Dyer
:44:27. > :44:33.has turned his attention to a wide range of subjects, photography,
:44:33. > :44:38.jazz, the First World War, yoga. His latest book is based on the
:44:38. > :44:43.late, great Russian director, Andrei Tarkovsky's celebrated film,
:44:43. > :44:48.Stalker. Mark Kermode went to find out why the 1979 classic has made
:44:48. > :44:58.such an impression on him. It is slow going. Stay with it, I promise
:44:58. > :45:04.
:45:05. > :45:10.Stalker is about as far away from a Hollywood blockbuster as you could
:45:10. > :45:15.get. It unfolds at its own unhurried pace. There are just 142
:45:15. > :45:21.shots in the whole two-and-a-half- hour film. That's Tarkovsky for you.
:45:21. > :45:24.The subject matter is somewhat obscure, a guide or stalker, takes
:45:24. > :45:27.two men into a forbidden area called the Zone at the heart of
:45:27. > :45:37.which is the Room where your deepest wishs will come true.
:45:37. > :45:40.
:45:40. > :45:44.I first saw it when I was at university in Manchester where the
:45:44. > :45:49.industrial landscape oddly matched that of the film itself. I remember
:45:49. > :45:53.staying up late at night in student flats discussing what the film
:45:53. > :45:58.meant. I admired it. I was intrigued by it, not sure I loved
:45:58. > :46:07.it, but for Geoff Dyer, Stalker isn't just a great film. It's the
:46:07. > :46:11.reason cinema was invented. For Jeff, the film invokes the hope and
:46:11. > :46:17.despair of all humanity. His book is called Zona after the mythical
:46:17. > :46:21.Zone in which most of Stalker is set. Is it possible to encapsulate
:46:21. > :46:27.why Stalker has become such a profound religious experience for
:46:27. > :46:30.you? Partly because it's a religious film, so this place, the
:46:30. > :46:35.Zone that they go to - I think one of the remarkable things about the
:46:35. > :46:41.film is that the zone is, on the one hand, a perfectly ordinary
:46:41. > :46:50.place - trees, abandoned stuff, and at the same time, it's also a place
:46:50. > :46:53.where magical things can happen. It seems both real and absolutely
:46:54. > :46:58.pladgeical at the same -- magical at the same time. There is a lovely
:46:58. > :47:06.bit in it. They're in a room, and this bird flaps into the image and
:47:06. > :47:11.then disappears. And crucially, as Stalker says to one of the clients,
:47:11. > :47:14.the important thing is to believe, and it seems to me in the course of
:47:14. > :47:20.the film we come together absolutely in the mysterious powers
:47:20. > :47:26.of the place, the Zone, which never stops looking at the same time as a
:47:26. > :47:31.completely ordinary bit of wasteland. Geoff uses the film as a
:47:31. > :47:34.jumping-off point to delve into the world of cinema and into the mind
:47:34. > :47:40.of director Andrei Tarkovsky. For those who may not be familiar, can
:47:40. > :47:46.you describe Tarkovsky's style for me? Oh, yeah. In a word, I guess,
:47:46. > :47:50.slow and demanding. What Tarkovsky wants to do, I think, is just
:47:50. > :47:55.immerse you in the particular rhythm of his films and to give you,
:47:55. > :48:00.crucially, a new experience of time, and if you find his film bores
:48:00. > :48:03.boring at first, I think quite often that's just because of a
:48:03. > :48:10.friction between the speed of the film and your expectations. Once
:48:10. > :48:14.you give yourself to it entirely, then there's no problem at all.
:48:14. > :48:18.first words in the film are spoken by the wife, and they are...
:48:18. > :48:23.did you take my watch? Yes, the film has hardly started. She's only
:48:23. > :48:27.just woken up, and from a husbandly point of view, she's already
:48:27. > :48:37.nagging - nagging him and calling him a thief. No wonder he wants out.
:48:37. > :48:43.
:48:43. > :48:47.But of course, we're also getting Your book is about Stalker. I think
:48:47. > :48:53.it's more about you. Oh, yeah, Stalker takes two clients into the
:48:53. > :48:55.Zone. One is Professor, and the other is writer, and not
:48:55. > :49:02.surprisingly, I identify with this writer. He's my embedded
:49:02. > :49:05.representative in the film, if you like. And I like the way he's some
:49:05. > :49:15.sort of quite cynical, washed-up writer who is going to the Zone for
:49:15. > :49:35.
:49:35. > :49:39.This figure of the writer in the film enables me to have a sort of -
:49:39. > :49:43.it enables me to participate in the film in a way. It facilities that
:49:43. > :49:53.traffic between what's going on in the film and my experiences of
:49:53. > :49:53.
:49:53. > :49:57.seeing it and stuff going on in my life. Maybe by going to the Zone,
:49:57. > :50:01.the writer will be rejuvenated. And I know how he feels. I could do
:50:01. > :50:04.with a piece of that action myself. I mean, do you think I'd be
:50:04. > :50:09.spending my time summarising the action of a film almost devoid of
:50:09. > :50:13.action - not frame by frame,s a exactly, but certainly take by take
:50:13. > :50:20.- if I was capable of writing anything else? In my way, I'm going
:50:20. > :50:25.to the Room, following these three to the Room, to save myself. There
:50:25. > :50:29.is at the centre of all of this this idea that there is a room
:50:29. > :50:33.which makes your deepest desires come true. It may be a very mundane
:50:33. > :50:36.thing, though. I guess, if you like, you can imagine the room as
:50:37. > :50:40.something like the football pools whereby if we won the football
:50:40. > :50:44.pools or the lottery or whatever, all our problems would be over with.
:50:44. > :50:47.That is what I want, but actually, it turns it that it's more
:50:47. > :50:51.complicated than that because what it's revealed to you in the Room is
:50:51. > :50:57.not what you think is your deepest desire, but what actually is your
:50:57. > :51:00.deepest desire. We don't really know what our deepest desires are.
:51:00. > :51:10.My suspicion is that they're revealed in the way that you end up
:51:10. > :51:10.
:51:10. > :51:14.leading your life as it is at So there you have it, Geoff Dyer's
:51:14. > :51:19.book Zona is out now. You can still pick up Stalker in most good DVD
:51:19. > :51:23.stores. Next, we drag ourselves away from Tarkovsky's mesmeric
:51:23. > :51:32.masterpiece and take it out on to the streets where Michael Smith
:51:32. > :51:38.discovers an extremely generous art movement.
:51:38. > :51:41.Street art, a vital part of most urban landscapes, designed to stay
:51:41. > :51:45.put for as long as it can. But imagine discovering a piece of art
:51:45. > :51:53.that was actually out on the street, and if you liked it, you could just
:51:53. > :51:59.pick it up and take it home. Sound too good to be true? Well, it isn't.
:51:59. > :52:02.Under the banner Free Art Friday, the global online community of
:52:02. > :52:12.artists create works specifically to leave out on the streets. If you
:52:12. > :52:12.
:52:12. > :52:16.like the piece you find, they want Three members of the group have
:52:16. > :52:23.come to London to leave some work out for the unsuspecting public,
:52:23. > :52:28.but I can't help wondering, is all the publicity stunt a career move
:52:28. > :52:33.or genuine altruism? Is it seen as a steppingstone into the gallery
:52:33. > :52:37.world or is it an alternative to that? Not for me personally. From
:52:37. > :52:41.being gallery artist, if you want to put something in a gallery, you
:52:41. > :52:47.have to have something that's going to sell or be well accepted. Moving
:52:47. > :52:51.into free art gives you so much freedom, what you want to do as an
:52:51. > :52:56.artist. I like the altruistic side of you're giving something for free
:52:56. > :53:00.- not, this is going to be worth lots of money, or should I be
:53:00. > :53:06.liking this? Anybody picking it up is doing so for the right reason.
:53:06. > :53:12.But will the public even notice or want it? The first artist up is
:53:12. > :53:16.Carl. I'm curious to see how quickly each artists' work gets
:53:16. > :53:24.snapped up. It might even give us an insight into the artwork's true
:53:24. > :53:34.street value. Ten minutes in, and the passersby seem totally
:53:34. > :53:35.
:53:35. > :53:40.indifferent. It's not looking good. I think we have had our first bite
:53:40. > :53:45.of the day - 16 minutes it took. LAUGHTER
:53:45. > :53:50.All right? Hello. What made you take it? That really - the free bit.
:53:50. > :53:55.Yeah, yeah. Did it feel a bit strange taking it? Yeah, I felt
:53:55. > :53:58.like I probably should have left it, but I wanted - what is is it? It's
:53:59. > :54:02.a portrait. It's me. I'm sorry I've never heard of you. That's all
:54:02. > :54:12.right. Not many people have. Don't worry about it. Glad you like it.
:54:12. > :54:14.
:54:15. > :54:20.Thanks a lot. Cheers, guys. Take The next artist up is My Dog Size.
:54:21. > :54:26.Can he beat 16 minutes? I suspect that will go first, but I really
:54:26. > :54:30.hope not. I want that on my wall. Maybe most people are too
:54:30. > :54:36.subconscious to take it. Something bright and colourful on the tree -
:54:36. > :54:46.stop and take a look. No! Here we go. Come on. Have a look! Oh, right
:54:46. > :54:53.Oh, look. Here we go. Oh, here we go. That was a good glance, a turn-
:54:53. > :54:59.around. They noticed the word "free" possibly. Oh, pictures.
:54:59. > :55:04.Don't take the can! Don't take the can! Yeah, they... Oh, we're on six,
:55:04. > :55:06.yeah, not even seven. Hello. We notice you have taken all the free
:55:06. > :55:12.art. LAUGHTER
:55:12. > :55:17.Nice. So what made you take it? from Malaysia, so I'm going to take
:55:17. > :55:22.it and bring it to my office and put it in there, so it will be a
:55:22. > :55:25.nice happy memory. I am quite jealous you got the can. I really
:55:25. > :55:32.fancied that can. You should have it. It's beautiful. Thank you very
:55:32. > :55:38.much. Everyone is a winner. Bye! Well, they all went like hot cakes,
:55:38. > :55:48.didn't they? The last artist to drop his work is Fin DSC.
:55:48. > :56:00.
:56:01. > :56:02.cannot pick it up. We have finished the seven-minute period. I hope
:56:02. > :56:12.they're stopping now. Getting very cold.
:56:12. > :56:13.
:56:13. > :56:19.LAUGHTER Ah, we've got a taker. And it's
:56:19. > :56:23.gone - the slowest time of the day, yet these pieces turned the most
:56:23. > :56:28.heads. Maybe the old stopwatch idea is missing the point. Hello. Why
:56:28. > :56:32.did you pick it up? I don't know. It said, "Take me," on it, and I
:56:32. > :56:36.thought, why not take a really beautiful piece of art home? Do you
:56:36. > :56:42.think it's a good thing you can get art for free? Yes, definitely
:56:42. > :56:46.because it lets people who wouldn't ordinarily have art get art. Thanks.
:56:46. > :56:50.See you later. As another satisfied customer,
:56:50. > :56:56.let's hear from some of the people who looked today but didn't take
:56:56. > :57:00.anything. I was listening to a song by Squeeze that was Take Me I'm
:57:00. > :57:04.Yours, so it seemed a strange coincidence. I was going to take it,
:57:04. > :57:09.but I didn't know if I could carry it home. I didn't know you could
:57:09. > :57:13.just take it. I thought it was part of the environment.
:57:13. > :57:17.Well, I was a little bit dubious about this Free Art Friday this
:57:17. > :57:21.morning, but I have really warmed to it. I think they're doing it for
:57:21. > :57:25.all the right reasons - for the love of creating the stuff and for
:57:25. > :57:28.the love of sharing the stuff with the people that pick it up. There
:57:28. > :57:30.is something really generous about that and I think it can only be a
:57:30. > :57:35.good thing. That's all for tonight. We'll be
:57:35. > :57:38.back next week with Mark and his annuaanti-Oscar antics, The Kermode
:57:38. > :57:42.Awards. We'll have Noddy Holder from Slade and his love of cabaret