:00:12. > :00:19.Hello and welcome to the The Culture Show. This week we have
:00:19. > :00:25.Pablo Picasso, political pamphlets and pagan rituals. All that, plus
:00:25. > :00:29.inspiring interiors, and happy birthday to cabaret., not, Penrose
:00:29. > :00:34.and Picasso. The informative relationship between the Spanish
:00:35. > :00:40.master and the English Surrealist. Pagan and pageantry, the new
:00:41. > :00:47.production of the Wicker man. Proliferating pamphlets, Toby Young
:00:47. > :00:51.on the surprising spin-off of the digital age. And Charlie Luxton
:00:51. > :00:57.meets Gary Gard, creator of London's most dazzling contemporary
:00:57. > :01:05.interior, the late night chameleon cafe. A new book inspires me to go
:01:05. > :01:10.wild in the country, and Mark Kermode dishes out the only film
:01:10. > :01:18.awards that really matter - his own. First, Picasso And Modern British
:01:18. > :01:22.Art, the exhibition of the moment in sport -- explores Picasso's
:01:22. > :01:28.influence on painters from Francis Bacon to Henry Moore. The great
:01:28. > :01:34.British public was rather slow to warm to Picasso, the turning point
:01:34. > :01:38.came in 1960 when Penrose staged fish usually popular exhibition
:01:38. > :01:43.which changed the way modern art was perceived in this country.
:01:44. > :01:50.Alastair Sooke went to meet Anthony Penrose, Roland's son to find out
:01:50. > :01:55.more about his father's relationship with the maestro. In
:01:55. > :02:01.November 1950, Pablo Picasso found himself alone in England in a state
:02:01. > :02:05.of profound anxiety. His appearance at the Communist Party's peace
:02:05. > :02:09.conference in Sheffield had triggered a political storm. The
:02:09. > :02:14.British government were terrified that the Communists were coming, so
:02:14. > :02:23.they shut down the conference after one day. Picasso was hounded by the
:02:23. > :02:30.press, and he sought refuge here in the Sussex hamlet where his friend
:02:30. > :02:36.Roland Penrose lived in a beautiful farmhouse. Roland Penrose is often
:02:36. > :02:46.just a postscript, a walk-on part in surrealism. His contribution to
:02:46. > :02:50.
:02:50. > :02:56.art history is far wider, he gave us Picasso. Hello, do come on in.
:02:56. > :03:01.Antony Penrose is Roland's son and grow up at Farley Farm, which is
:03:01. > :03:08.open to visitors today. There is art work on the walls, these are
:03:08. > :03:14.works by your father? Men need of them, yes. Picasso painted his
:03:15. > :03:20.mother six times. This is the moment when my mother decided to do
:03:20. > :03:26.a family photo, you can see I am fed-up. The both look rather fed
:03:26. > :03:31.up! So oh then he whispered something in my ear. I have no idea
:03:31. > :03:37.what it was. The result was instant connection, we jump to these shots
:03:37. > :03:42.here, and you can see straight away we have made that bombed. The is
:03:42. > :03:47.moment when your face lights up, that is stunning. Your father and
:03:47. > :03:52.mother had known Picasso for 14 years - how important was this
:03:52. > :03:57.visit in cementing that friendship? It showed Picasso that Rowland
:03:57. > :04:02.could be there for him. Actually take care of him, look after him
:04:02. > :04:06.and his interests. Their friendship would be crucial in building
:04:06. > :04:13.Picasso's reputation in Britain. Rowland became one of his most
:04:14. > :04:18.ardent champions. Picasso needed all the help he could get. By 1950,
:04:18. > :04:24.Picasso's dark brooding work had alienated several critics. Most of
:04:24. > :04:30.the country simply hadn't heard of him. All that many people saw was
:04:30. > :04:34.darkness, ugliness, violence, the desecration of the beautiful ideal,
:04:34. > :04:39.but Roland sensed something more profound lay beneath, and he became
:04:39. > :04:45.consumed by the urge to transform the way people understood Picasso's
:04:45. > :04:52.art, in fact that became his life's work. Rowland had grown up amongst
:04:52. > :04:56.art. His father was an artist, but Victorian, figurative. As a student,
:04:56. > :05:06.Rowland set eyes on Picasso's work and suddenly the Shia possibility
:05:06. > :05:10.
:05:10. > :05:16.seemed their -- of the possibilities seemed endless. He
:05:16. > :05:22.bought this art work, a move that would bring him closer to his hero.
:05:22. > :05:29.One of the rude symbols in it is this very luscious pair of spread
:05:29. > :05:38.far raised. You've can see the high heels of the feet. You can follow
:05:38. > :05:44.the legs backwards. The you can also read a lot into the shape of
:05:44. > :05:50.the sun in the sky as well. imagine him that the fact your
:05:50. > :05:55.father wanted to buy this painting that Picasso's Delo was refusing to
:05:55. > :06:00.show and sell probably made a good impression. It certainly singled
:06:00. > :06:06.Rowland out in Picasso's mind as a person who understood and bought
:06:07. > :06:11.the difficult pictures. That set him apart. By 1937, Rowland had
:06:11. > :06:18.developed one of the most important collections of Picasso's in the
:06:18. > :06:27.country. In 1938, he bought Picasso's masterpiece Guernica to
:06:27. > :06:37.Britain. In 1965 he persuaded the artists to sell The Three Dancers.
:06:37. > :06:38.
:06:38. > :06:44.His biggest achievement was a book, the first of a biography of Picasso.
:06:44. > :06:54.Picasso made this drawing of Roland in the front cover. We knew say a
:06:54. > :06:55.
:06:55. > :07:00.drawing of Rowland, where is he? here is his thin lips, stubbly chin.
:07:00. > :07:06.And a very big nose. There is another aspect of this book which
:07:07. > :07:16.is touchingly intimate, just here. We find a flower pressed in the
:07:17. > :07:18.
:07:18. > :07:22.pages. It is a bird's nest orchid and this is Picasso's writing
:07:22. > :07:26.saying 26th April 1959. Do you think the buyer can be changed
:07:26. > :07:31.people's perceptions of Picasso? certainly introduced him to a lot
:07:31. > :07:35.of people who would never have taken him seriously before, but it
:07:35. > :07:42.also reached people who were perhaps not interested in modern
:07:42. > :07:46.art, and it gave them a start point. Mr Penrose, I have heard it said
:07:46. > :07:50.there was no such thing as a typical Picasso. How far do you
:07:50. > :07:56.think you have managed to represent the enormous variety of styles in
:07:56. > :08:03.this exhibition? We have done our best. There are some very well
:08:03. > :08:09.known among them, remarkable in their style. This is the catalogue
:08:09. > :08:17.from the exhibition in the Tate Gallery in 1960, which was curated
:08:17. > :08:24.by my dad. This was how Picasso dedicated the front inside cover.
:08:24. > :08:27.With the face! Indeed, yes. Some people say it was the show of the
:08:27. > :08:32.last century, and it was probably the first occasion when modern-art
:08:32. > :08:36.attracted queues that went way back. This was a massive step in the
:08:36. > :08:41.evolution of the Tate, as well as in the evolution of modern art in
:08:41. > :08:48.Britain. The new show looked at Picasso's influence on modern
:08:48. > :08:51.British artists. Francis Bacon, Henry Moore, David Hockney. They
:08:51. > :08:59.all saw Picasso's work and recognised him as the most
:08:59. > :09:02.inventive artist of his age. Invite a lysed people. Picasso was giving
:09:02. > :09:07.encouragement and permission for people to go off in different
:09:07. > :09:13.directions, and that is the exciting thing. You are a bit
:09:13. > :09:17.biased, OK, but I will ask you anyway. If it hadn't been for your
:09:17. > :09:23.father, do you think Picasso would not have had such a big influence
:09:23. > :09:33.on British art? I think it is fair to say that. I find it very curious
:09:33. > :09:34.
:09:34. > :09:39.the way moment is my grow fonder acknowledged. He gave way of his
:09:39. > :09:45.desire to work as an artist to help other people. He gave them shows,
:09:45. > :09:54.he wrote books about them. In a way, they're owed Rowland for the way
:09:54. > :09:59.they promoted their work. exhibition continues until the 15th
:09:59. > :10:03.July. If you want to see Farley Farm for yourself, that opens to
:10:03. > :10:11.the general public from April. Almost half a millennium ago, the
:10:11. > :10:15.invention of the printing press made it possible for people with
:10:15. > :10:20.radical views to reach a mass audience by publishing pamphlets.
:10:20. > :10:25.It seemed that what goes around comes around. The writer Toby Young
:10:25. > :10:32.believes new means of digital distribution have given birth to a
:10:32. > :10:37.new-age of pamphleteering. We asked him to explain why. The global
:10:37. > :10:42.financial crisis of 2008 and its continuing economic repercussions
:10:42. > :10:45.has led to a growing scepticism about the long-term viability of
:10:45. > :10:49.free-market capitalism. This has led to a resurgence of the
:10:49. > :10:55.ideological battles that most people thought had ended with the
:10:55. > :10:59.fall of the Berlin Wall. One of the manifestations of this intellectual
:10:59. > :11:04.ferment has been the re-emergence of a literary form more closely
:11:04. > :11:09.associated with the 20th century, the pamphlet. We have witnessed the
:11:09. > :11:15.rebirth of the political tract in digital form, an explosion of
:11:15. > :11:21.electronic books in which a new generation of writers have put
:11:21. > :11:29.forward arguments. In fact, we might just be entering a new golden
:11:29. > :11:34.age for this oldest of literary forms. According to George Orwell,
:11:34. > :11:38.between 1640 and 1661, there were 22,000 political tracts circulating
:11:38. > :11:45.in London. Back then, pamphlets were one of the few platforms
:11:45. > :11:50.available to people who wanted to challenge the status quo, but it
:11:50. > :11:55.wasn't long before they became a respectable literary genre. A new
:11:55. > :11:59.pamphlet could be hailed as a literary event. They nearly all had
:11:59. > :12:04.a radical political bent, often using violent language to attack
:12:04. > :12:10.the moral failings of the ruling class. I'm fascinated by this
:12:10. > :12:14.tradition and recently wrote a pamphlet for Penguin about setting
:12:14. > :12:23.up a free school. My hope is it will become the manifesto of the
:12:23. > :12:28.movement. My father, a Labour peer, was also a pamphleteer. But just
:12:28. > :12:31.how influential are pamphlets today? You recently co-authored a
:12:31. > :12:36.pamphlet urging the leaders of the Labour Party to be more fiscally
:12:36. > :12:41.prudent, and in a matter of weeks they became more fiscally prudent.
:12:41. > :12:45.How influential do you think your pamphlet wars? It was one of the
:12:45. > :12:50.range of factors. The pamphlet came at the right moment in the middle
:12:50. > :12:54.of the debate that was already happening inside the party. It
:12:54. > :13:01.meant people were willing to push the debate further internally and
:13:01. > :13:04.externally. Why choose a pamphlet, and why not an article? We didn't
:13:04. > :13:08.have anyone who wanted to publish it, we didn't know any
:13:08. > :13:12.commissioning editors, we didn't have any particular access to the
:13:12. > :13:16.world of publishing, and it was long enough to have some real
:13:16. > :13:24.strength to the argument, but short enough to allow you to focus on a
:13:24. > :13:28.few key points. We also deliberately chose to be
:13:28. > :13:34.provocative in the language we used. A do you think we are seeing a
:13:34. > :13:38.resurgence in pamphleteering? huge. The debate on Labour's
:13:38. > :13:42.economic policy is almost being conducted in pamphlets, but it
:13:42. > :13:47.means you have an intellectually driven policy debate conducted
:13:47. > :13:52.aggressively and forcibly, but about ideas and not personalities.
:13:52. > :13:55.One of the virtues of pamphlets is that they provide a soapbox for a
:13:55. > :14:00.new generation of political activists who might not otherwise
:14:00. > :14:06.have an outlet in mainstream media. Kieran Yates is the author of this
:14:06. > :14:09.pamphlet written after last summer's riots. It is exciting how
:14:09. > :14:14.the worlds of literature and activism have found a place where
:14:14. > :14:18.they can come together and be instantaneous. We talk about the
:14:18. > :14:25.riots, about young people and representation in the media and
:14:25. > :14:29.beyond, and I think there other pamphlets talking about student
:14:29. > :14:35.protests and the Arab Spring. I see it as a contribution to a wider
:14:35. > :14:39.activist movement. Did you think of this as a pamphlet in this great
:14:39. > :14:44.pamphleteering tradition when you were writing it, or is that an
:14:44. > :14:49.interpretation of people like me after the event? I think we would
:14:49. > :14:52.be honoured to be thought of in the same tradition as people like
:14:52. > :14:58.Jonathan Swift, but at the same time people have been seen as
:14:58. > :15:02.passive observers and we need things like social media, pamphlets,
:15:02. > :15:08.and we need to say look, people are active, they are critical, and we
:15:08. > :15:12.are lucky to have those voices. For pamphlets don't just provide a
:15:12. > :15:16.forum for new voices. They also enable established political
:15:16. > :15:23.journalists to get their teeth into subject they can only touched upon
:15:23. > :15:28.in their columns. Peter has recently written this that
:15:28. > :15:37.campaigns for people to join the euro. Why is the palm for such a
:15:37. > :15:41.There are too many books for wupbg thing. Most books don't need to be
:15:41. > :15:47.written. There is a kernel inside them that can be expressed in a
:15:47. > :15:52.much shorter form. So a pamphlet enables you to articulate an idea,
:15:52. > :15:58.to express it, to provide evidence and then get it out there in the
:15:58. > :16:03.public domain. I want to prove a point actually. Let's look at this
:16:03. > :16:07.Guilty Men, this was an act of revenge in ways, I wanted to remind
:16:07. > :16:12.them of how very wrong they were and I can't tell you what a
:16:12. > :16:18.rewarding process it was. It seems one of the common themes of your
:16:18. > :16:22.pamphlets is that they're all quite contraryian, you take a piece of
:16:22. > :16:26.conventional wisdom and shoot it down. You want to take something on.
:16:26. > :16:30.Conventional wisdom is almost always wrong. There is something
:16:30. > :16:36.about political discourse, the way it's constructed which means that
:16:36. > :16:39.it's false, and I think that if you can hammer it, you can change the
:16:39. > :16:43.way things are understood. Of course you write it for a purpose.
:16:43. > :16:47.There's no point in just rambling on about something which everybody
:16:47. > :16:50.agrees, and that does give an opportunity to come at political
:16:50. > :16:54.discourse in a different direction and I think pamphlets are a useful
:16:54. > :16:58.way of doing that. In an age of ever shortening
:16:58. > :17:02.attention spans in which the dominant form of communication is
:17:02. > :17:05.the 140-character tweet, it's heartening to see the political
:17:05. > :17:10.pamphlets stage a comeback and paradoxically it's largely thanks
:17:10. > :17:14.to the internet F there is some modern day equivalent of Karl Marx
:17:14. > :17:23.out there working away on the 21st century version of the communist
:17:23. > :17:26.manifesto, we will probably read it first on something like this.
:17:26. > :17:30.Next tonight, it's a cult classic of British horror, but now The
:17:30. > :17:35.Wicker Man is being adapted for the stage. There's no need to fear too
:17:35. > :17:42.much, because the National Theatre of Scotland's appointment with The
:17:42. > :17:52.Wicker Man Contains a a dose of music and even some laughs. Michael
:17:52. > :17:57.
:17:57. > :18:04.Smith went to rehearsals to Ponder The Wicker Man is a truly curious
:18:04. > :18:11.beast. Part musical.
:18:11. > :18:19.Part hammer-esque horror, part pagan, hippie fantasy.
:18:19. > :18:27.There's nothing quite like it in British cinema history. It long ago
:18:27. > :18:32.became a cult classic. An uptight Christian policeman, played
:18:32. > :18:37.wonderfully by Edward Woodward visits a remote Scottish island to
:18:37. > :18:41.investigate the disappearance of a 12-year-old girl. His routine
:18:41. > :18:51.inquiries quickly descend into a pagan nightmare, ending with his
:18:51. > :18:51.
:18:52. > :18:56.own ritual sacrifice. 40 years later, the film's legacy
:18:56. > :19:00.lives on. So far, we have had a low budget sequel, a multimillion
:19:00. > :19:06.dollar Hollywood remark, a music festival named after it, and even
:19:06. > :19:09.Bruce Dickinson from Iron Maiden has written a song about the film.
:19:09. > :19:14.It's a strange and rich thing to watch, there's moments of real
:19:14. > :19:18.mystery and eerieness. There's also moments, particularly all the
:19:18. > :19:21.singing and dancing ones, that just seem so silly it almost makes you
:19:21. > :19:28.cringe in embarrassment but it adds up to an engrossing watch. So much
:19:28. > :19:36.so, that the film's become part of the law of alternative pop culture.
:19:36. > :19:40.The latest adaptation is a play. In rehearsals under way are in an old
:19:40. > :19:45.glue factory in Glasgow. Produced by The National Theatre of Scotland,
:19:45. > :19:51.and directed by Vicky FeatherStone,'s the play's co-
:19:51. > :19:56.written by comedian Gregg Hemphill who also stars in it.
:19:57. > :20:04.Are you the landLord? That's me. You will be the police officer from
:20:04. > :20:13.the mainland. That's right. script cleverly spruced the
:20:13. > :20:18.original plot. In the play the group are in the midst of an Wicker
:20:18. > :20:22.Man production when the lead actor goes AWOL. With the production
:20:22. > :20:30.under threat, a TV detective from the mainland is asked to replace
:20:30. > :20:34.the missing actor. Welcome to the company. Everyone, this is the cop
:20:34. > :20:38.that's going to save us when the show opens tomorrow night! What was
:20:38. > :20:44.it that attracted you to the project, was it a love for the
:20:44. > :20:47.film? First and foremost, this was an NTS production and Vicky had an
:20:47. > :20:52.idea to stage this film because it was not only was it a Scottish
:20:52. > :20:59.horror classic, but a sort of cinema classic. Worldwide classic,
:20:59. > :21:05.you know. I certainly got it in my top ten films of all time. I think
:21:05. > :21:13.Vicky knew I was a horror fan, she contacted myself and co-writer and
:21:13. > :21:16.asked if we would be interested. When we were asked we said yes
:21:16. > :21:21.rightaway, what would be daunting and awful would be for somebody
:21:21. > :21:25.else to do it and for us to go oh, you fools, you should have done it
:21:25. > :21:29.this way!. We thought if anybody is going to mess it up we wanted it to
:21:29. > :21:33.be us. Let me ask you this, have you ever
:21:33. > :21:41.seen The Wicker Man. I have, I am obsessed with it. How many times
:21:41. > :21:46.have you seen it? Twice. I am a huge Nicholas Nicholas -- Cage fan.
:21:46. > :21:55.The rest of you? I have seen most of it, bar the last ten minutes.
:21:55. > :22:00.have not seen it, but I am a pig fan of The -- big fan of The Equal
:22:00. > :22:06.equaliser. How does it feel jumping into
:22:06. > :22:10.Christopher Lee's role. It would have been daunting if I was just
:22:10. > :22:14.doing a straight adaptation. I have this get-out clause, because I am
:22:14. > :22:19.playing a useless actor called Finley, who is playing Christopher
:22:19. > :22:25.Lee, so if anybody says that guy is nothing like Christopher Lee I can
:22:25. > :22:29.say yeah! I wasn't meant to be good at him. Were you approaching the
:22:29. > :22:39.play as a kind of comedy? The most important thing was to capture the
:22:39. > :22:39.
:22:39. > :22:44.spirit of the film. Rather than do a pastiche, we would have been the
:22:44. > :22:47.wrong writers if we had been asked to pastiche The Wicker Man. We
:22:47. > :22:52.wanted to do something in its spirit and our production hopefully
:22:52. > :23:02.is, I guess you could call it a sell Briggs of -- celebration of
:23:02. > :23:08.
:23:08. > :23:12.We haven't seen the ending yet, obviously. Is it going to be a big
:23:12. > :23:16.wooden man on fire on the end of a cliff? With our tongue placed
:23:16. > :23:20.firmly in our cheeks, we put on the poster, someone's going to burn for
:23:20. > :23:23.this along the bottom and thought that's funny because there will be
:23:23. > :23:27.certain people that will want to burn the writers. Also what we are
:23:27. > :23:32.saying to the audience is it wouldn't be The Wicker Man if there
:23:32. > :23:36.wasn't a wicker man that at some point had a flame waved near it. I
:23:36. > :23:46.guess you will have to come and see it, if it actually does get close
:23:46. > :23:58.
:23:58. > :24:01.The play pwraoets new life in this curiosity by a by-gone era and
:24:01. > :24:06.highlights the unsettling and odd qualities of the original. It's
:24:06. > :24:11.done with such affection and it's really, really funny.
:24:11. > :24:16.On a appointment with The Wicker Man opens in Aberdeen next week.
:24:16. > :24:21.Still to come, Mark Kermode reveals his favourite films of the past
:24:21. > :24:25.year. But first, if you haven't yet heard of a multitalented man called
:24:25. > :24:30.Gary Gard then pay attention. His blog modestly mentioned he makes
:24:30. > :24:36.sets, props, illustrations and a few paintings, when in fact, he has
:24:36. > :24:45.a truly enviable client list and his admirers range from lady Gaga
:24:45. > :24:52.to the New York times. The latest buzz is about his work on the spwor
:24:52. > :25:01.kwroer -- interior of London's cafe. Charlie Luxton has been finding out
:25:02. > :25:08.more. A trip to the late night - LMCC,
:25:08. > :25:11.means taking a magical mystery tour to deepest Dalston.
:25:11. > :25:18.The store is the physical presentation of something that
:25:19. > :25:28.started out as an online empor ium, and you can't just turn up, you
:25:29. > :25:39.
:25:39. > :25:43.The low-key entrance leads to a subterranean world, crafted by set
:25:43. > :25:47.designer Gary Gard. It's a world away from the busy east London
:25:47. > :25:56.street that I have just come from, it feels rather like stepping in to
:25:56. > :26:02.a fairytale. And then into a sort of low budget
:26:02. > :26:07.sci-fi movie. I don't mean that in a derogatory sense. It's simply put
:26:07. > :26:13.together. It's about raw ideas and making you feel in a certain way
:26:13. > :26:17.and it's a very powerful space. I think you get a strong sense of
:26:17. > :26:21.Gary's stage set training. It really has that feeling. It gives
:26:21. > :26:29.you strong emotions. It's about the emotional feeling, I think, and not
:26:29. > :26:34.the kind of slick architectural detail.
:26:34. > :26:39.It feels like Gary's taken the principle of the shop window, and
:26:39. > :26:45.stretched it, so you are able to actually inhabit the display. Three
:26:45. > :26:49.different rooms, each with an individual character, house an
:26:49. > :26:57.eelectic collection of over 100 designers, some big names, some
:26:57. > :27:00.emerging talents. What makes Gary's designs stand out for me is the
:27:00. > :27:04.Jekyll and Hyde way these vastly different spaces rub up against
:27:04. > :27:12.each other. This one feels like some sort of
:27:12. > :27:20.industrial cooling facility. You get a real sense of Gary's
:27:20. > :27:24.theatrical heritage. This place is all about the theatre, the fashion.
:27:25. > :27:34.This room feels warm and welcoming. That's partly because of the wood,
:27:34. > :27:40.but also some simple stuff like the lighting. Lighting. Very simple,
:27:40. > :27:46.but actually very emotionally powerful. It's really nice to see
:27:46. > :27:49.these materials that are used so freely. This makes me smile,
:27:49. > :27:53.because this is - we use this every day on building sites just to
:27:53. > :27:59.connect things that you don't see. It's just very strong metal and
:27:59. > :28:06.this is the cheapest sort of timber that you wouldn't even use to make
:28:06. > :28:12.joinery from. That's not what it's about. It's the way you are putting
:28:12. > :28:16.a �it00 -- �200 scarf next to cheapest material. It's about the
:28:16. > :28:26.ideas, not the materials. I really like that. They're quite nice,
:28:26. > :28:27.
:28:27. > :28:31.actually. LNCC is about creating a space that
:28:32. > :28:36.is in many ways everything the internet can't be.
:28:36. > :28:41.It's about community. It's about talking face-to-face. And
:28:41. > :28:46.experiencing things with all your senses. You come here to meet the
:28:47. > :28:51.brand, not just people who are going to sell you stuff.
:28:51. > :28:57.For me the strongest thing is that it's done on a very small budget.
:28:57. > :29:02.Like good ideas have trumped budget. And this simple, inexpensive little
:29:02. > :29:07.fitout has been nominated for a really prestigious design award and
:29:07. > :29:17.that is fantastic. I am intrigued to meet the man
:29:17. > :29:18.
:29:18. > :29:26.behind this daring design. It's just a short trip across town
:29:26. > :29:31.to Gary's Hackney studio. The first thing you notice is there's no
:29:31. > :29:34.white cube minimalism. It's stuffed full of models and ideas and the
:29:34. > :29:40.tools of his trade. You almost feel like you're stepping inside his
:29:40. > :29:44.head. Gary's got an impressive portfolio, ranging from
:29:44. > :29:48.illustration to costume and set design. I wondered where he felt
:29:48. > :29:53.his real strength lay. There's so much different stuff, what do you
:29:53. > :29:58.feel is closest to your heart? Definitely my illustration stuff.
:29:58. > :30:02.It was my first love as a kid, I was constantly drawing. It's how I
:30:02. > :30:06.approach everything. It always starts with the drawing. There
:30:06. > :30:13.seems to be a big craft element, the act of making important to you
:30:13. > :30:22.s that a fair comment? Absolutely. It's because I can't, a certain
:30:22. > :30:32.amount of megaloman ia. I can't let go which is why assistants find me
:30:32. > :30:35.
:30:35. > :30:41.I am lucky enough that I get to choose what I want, so this is a
:30:41. > :30:51.perfect example where I knew what I would not come out of it a
:30:51. > :30:52.
:30:52. > :30:58.millionaire but it was too exciting not to do. He worked with your dad
:30:58. > :31:03.to build this. How did that work? Is he an ongoing part of your
:31:03. > :31:09.creative work? The us, he has been making my stuff since I was a kid.
:31:09. > :31:13.Nobody else would push them self for me like my dad so I go to him
:31:13. > :31:19.whenever I have an insane project that I can't ask anybody else to
:31:19. > :31:29.help with. He is a builder by trade. One of my main influences,
:31:29. > :31:30.
:31:30. > :31:34.particularly when you look at LN-CC is House deconstructed it is. It
:31:34. > :31:40.almost looks like a construction site, and that comes from my dad
:31:40. > :31:44.and the jobs I used to do with him. How important has the nomination
:31:44. > :31:48.for the design award been? It is amazing. I've been up against
:31:48. > :31:53.Alexander McQueen in the Metropolitan Museum, which is
:31:53. > :31:58.incredible, and we are in the same category as the wedding dress,
:31:58. > :32:08.which is insane. To be amongst this, with something which was an
:32:08. > :32:09.
:32:09. > :32:15.experiment, pretty much, is incredible for me.
:32:15. > :32:20.Risque razzmatazz, the rise of the Nazi party, and a ravishing Liza
:32:20. > :32:25.Melly combined to make A cabaret. This month marked the 40th
:32:25. > :32:35.anniversary of its first release, and for Noddy Holder there is no
:32:35. > :32:55.
:32:55. > :33:02.finer film. He has been telling us I absolutely love Cabaret. It has
:33:02. > :33:09.everything - lies him in early on form as a singer, sleazy hedonistic
:33:09. > :33:15.behaviour, and evil Nazis. I saw it way back in a cinema in the West
:33:15. > :33:20.End of London. I was dragged by an Austrian girl friend of mine who
:33:20. > :33:24.knew I didn't like musicals in the vein of the Sound of Music and Mary
:33:24. > :33:29.Poppins, but she knew I was interested in 19 20s European
:33:29. > :33:34.history. I knew nothing about the film and I was not looking forward
:33:34. > :33:38.to it but it was a revelation. I loved it so much I went back to see
:33:38. > :33:45.it the next night and I have probably seen it a hundred times
:33:45. > :33:54.since then. # You have to understand the way I arm. The tiger
:33:54. > :34:01.is a tiger, not alarm. # You will never turn the vinegar to jam.
:34:01. > :34:10.# So I do what I do, when I'm through, then I'm through.
:34:10. > :34:20.# And I'm through. It was issued hit, along with its seven BAFTAs,
:34:20. > :34:23.
:34:23. > :34:26.it was also nominated for Oscars. It only lost out on the best
:34:26. > :34:36.picture and best screenplay statuette because it was up against
:34:36. > :34:36.
:34:36. > :34:41.a little-known film about the mafia called the Godfather. Cabaret is
:34:41. > :34:47.set in 1930s pre-war Berlin against the backdrop of mass social
:34:47. > :34:52.discontent and the rise of fascism. At that point, Berlin was the most
:34:52. > :34:55.decadent city in the world. It was a mecca for had missed and
:34:55. > :34:59.Bohemians, and those wishing to push the boundaries of
:34:59. > :35:03.individualism. I find it incredible that out of this tolerant
:35:03. > :35:11.permissive society came such horror. The Nazi scourge which swept away
:35:11. > :35:20.the joy and freedom shown in Cabaret and replaced it with
:35:20. > :35:24.violence and racism, and ultimately genocide. Cabaret has been a big
:35:24. > :35:29.part of my life. I remember seeing it once in Berlin when I was on
:35:29. > :35:37.tour. I watched it in a seedy cinema, very much like the club in
:35:37. > :35:41.the film, and that made the Fillmore, -- the film more
:35:41. > :35:46.compelling. The projector kept breaking down and have the curtains
:35:46. > :35:51.over the screen didn't open properly. My tour manager with
:35:51. > :35:57.Slade also loved the movie, and renew the songs and the dialogue.
:35:57. > :36:03.When we were touring, we would get some drinks down us in the bar, get
:36:03. > :36:10.drunk, and end up acting out the scenes, singing the songs. I am not
:36:10. > :36:20.sure everybody else enjoyed it, but we certainly did!
:36:20. > :36:20.
:36:20. > :36:26.# Come here the music play. # Life is a cabaret, come to the
:36:27. > :36:33.cabaret. It is not just a musical, it's a comedy, a drama, a social
:36:33. > :36:42.commentary. Liza gives the performance of a
:36:42. > :36:48.lifetime, a guest at -- against a backdrop of one of the most
:36:48. > :36:52.difficult times in history. How she life is a cabaret, come to
:36:52. > :37:01.the cabaret. Next tonight, how February can be
:37:01. > :37:05.truly horrible what with repression, greyness, and biting cold, but her
:37:05. > :37:09.new book is urging us to put those negative thoughts aside and
:37:09. > :37:19.reconnect with nature, rediscovering the pleasures of life
:37:19. > :37:21.
:37:21. > :37:30.that cost nothing. I went to meet the writers to find out more.
:37:30. > :37:35.City life. The hustle and bustle, the constant throng of activity.
:37:35. > :37:39.90% of Britain lives in an urban area. Many never seen to leave the
:37:39. > :37:45.concrete jungle. Two-thirds of children play outside less than
:37:45. > :37:50.once a week, and 50% of adults visit the natural environment less
:37:50. > :37:56.than once a week. As a nation, we seem to have become detached from
:37:56. > :38:06.the great outdoors. The natural world is and alien and scary place,
:38:06. > :38:07.
:38:07. > :38:13.best avoided. I know I spend too much time indoors. In art Galleries,
:38:13. > :38:19.in front of the TV, in front of the computer. When I do get out to
:38:19. > :38:23.somewhere like this, I instantly feel better. In their new book,
:38:23. > :38:29.these writers go further and that. They argue that getting into nature
:38:29. > :38:38.is totally essential to your health. At the centre of it, they placed a
:38:38. > :38:43.greater amount of importance on play. For them, it is, if we can
:38:43. > :38:49.shed our adult selves and become children again, we can enjoy the
:38:49. > :38:59.grandeur and beauty of this. Something I have not done since
:38:59. > :39:08.
:39:08. > :39:12.childhood. Skimming stones on a beach. Lovely! What was your
:39:12. > :39:19.motivation for writing this book? You are both living in the City,
:39:19. > :39:24.was it a desire to escape in a sense? It started with that, didn't
:39:24. > :39:28.it? You are could fairly say that, it was a philosophy borne out of
:39:28. > :39:33.escapism, in that our need to escape from the urban environment
:39:33. > :39:38.led to us thinking more deeply about why humans have this longing
:39:38. > :39:46.to be within nature. What is it you feel we lose if we spend our time
:39:46. > :39:50.in cities? What comes across from the book is a feeling of alienation.
:39:50. > :39:54.The areas that cure real reversal. Because so much in the City is
:39:54. > :40:01.demanding your attention, whether it is the noise, the lights, the
:40:01. > :40:07.stimulus, and the only way to deal with it is disengage. The few are
:40:07. > :40:11.in the City, you are in a room where everyone is shouting, and in
:40:11. > :40:15.the countryside it is almost like no one is shouting. In an art
:40:15. > :40:19.gallery your senses change from the street outside, it has a
:40:19. > :40:24.transformative effect. The there is a serious agenda behind the stone
:40:24. > :40:27.skimming. They are beguilingly simple, but they are a doorway to
:40:27. > :40:34.something else. We wanted to investigate the philosophical side
:40:34. > :40:38.of that. We said this was born of escapism, but to some extent if you
:40:38. > :40:43.take the time to slow down, you can bottle some of that and bring it
:40:43. > :40:51.back with you. And escaped to reality. Yes, and you come back
:40:51. > :41:01.stronger. So certainly colder. Tougher! Key in to avoid frostbite,
:41:01. > :41:03.
:41:04. > :41:13.we head for some shelter in a nearby forest. What is next on the
:41:14. > :41:15.
:41:15. > :41:22.menu? No we are going to make an elder whistle. Inside, the pith is
:41:22. > :41:28.extremely soft. We can push that right out. What do I do? Take-off
:41:28. > :41:34.the top layer, down to what looks like the bones of the ward. What
:41:34. > :41:40.drew you to whistle making? Is that because you guys get lost a lot?
:41:40. > :41:44.Something like that! The whole process of carving is about
:41:44. > :41:50.reordering wood and it is a therapeutic thing to do. Why a
:41:50. > :41:55.whistle? Whistles co-ordinate people over distance, and
:41:55. > :42:02.reconnecting with history was a part of it. Elder is a tree with
:42:02. > :42:09.cultural significance. It is known as all ward. It is part of a lot of
:42:09. > :42:19.classical myth. So that is the mouth, is it? Yes, you can see that
:42:19. > :42:19.
:42:19. > :42:29.grinning away. The next part is the plug. You slot that into the top of
:42:29. > :42:34.
:42:34. > :42:40.the whistle. And and that means I am good to go? Here goes. It sounds
:42:40. > :42:47.like the woodland expressed! This outdoors activity is fine, as long
:42:47. > :42:52.as you have a comfortable bed to go home to, but Rob and Leo had other
:42:53. > :42:58.ideas. They are proposing I spend a night sleeping outdoors inside a
:42:58. > :43:05.dent made from scavenged bits of wood and loose leaves. You have
:43:05. > :43:13.built a few of these, haven't you? Yes, we have. I am not entirely
:43:13. > :43:18.convinced. This is my wilderness hotel room. Is this a one star?
:43:18. > :43:23.given the speed we built it in, but in terms of the room with a view,
:43:23. > :43:29.it is the best. He looks more inviting than when we started, I
:43:29. > :43:35.will give you that. They promised to put me in touch with nature. I
:43:35. > :43:45.am certainly in touch with nature. Without being cynical, my senses
:43:45. > :43:46.
:43:46. > :43:51.have come alive. I can smell the leaves, I have been tuning into the
:43:51. > :43:56.river rolling along at the bottom of the hill, and there is something
:43:56. > :44:06.therapeutic about stopping and letting that, over you. If I do
:44:06. > :44:15.
:44:15. > :44:18.panic and I need help, I have got Skimming stones and other ways of
:44:18. > :44:25.being in the wild was published earlier this week.
:44:25. > :44:31.Aggrieved by the BAFTA, she's off by the Oscars? Don't worry because
:44:31. > :44:41.you are about to watch the only award ceremony that really counts.
:44:41. > :44:58.
:44:58. > :45:02.Here is Mark Kermode with his own Hello, good evening, and twobg the
:45:02. > :45:07.Kermodes, the most prestigious and sought after prize on the awards
:45:07. > :45:11.calendar. The Kermodes were set up as an antidote to the Oscars
:45:11. > :45:14.honouring those who have been ludicrously overlooked. The rules
:45:14. > :45:17.are simple, you can't win a Kermode for a category in which you have
:45:17. > :45:21.been nominated for an Oscar. Amongst the winners who will be
:45:21. > :45:26.receiving one of these glittering and frankly flattering statueets
:45:26. > :45:30.are my choice of Best Director, Best Actor and actress, all of whom
:45:30. > :45:39.have passed under Oscars' radar. Also an award for Best Documentary.
:45:39. > :45:42.We start with a new category tonight, Best Musical.
:45:42. > :45:45.The Oscars don't have an award for Best Musical and on the evidence of
:45:45. > :45:49.the annual embarrassment that is the Golden Globes, frankly, I don't
:45:49. > :45:52.blame them. But my first award goes to a film which deserves to have
:45:52. > :45:57.turned up in several Oscar categories, including Best Foreign
:45:58. > :46:03.language film, Best Documentary, Best Original score, even Best Film.
:46:03. > :46:12.The fact that this enthralling account of street musicians
:46:12. > :46:22.overcoming odds to bring their unique brand of skiffle to the
:46:22. > :46:41.
:46:41. > :46:46.world showed up in any category. It It's the funniest award ever.
:46:46. > :46:51.Because we know this guy and you know, it's really resembling.
:46:51. > :46:56.Looking like that. Except for the whiskers, I guess. Something Elvis-
:46:56. > :47:00.ish. And maybe here. That's beautiful. Seriously, that's a
:47:00. > :47:04.great honour and privilege to get that award for Best Musical from
:47:04. > :47:13.you guys. Thank you for that award. It's the last we will have, I guess.
:47:13. > :47:15.Yes, thank you very much. Next up, Best Documentary. The
:47:16. > :47:20.category which every year has people declaring that the academy
:47:20. > :47:24.should be closed down for overlooking the Best Films on offer.
:47:24. > :47:34.Howling ephoeugss this year include into the abyss, a examination of
:47:34. > :47:36.
:47:36. > :47:41.the the awful realities of death row. But this year's Kermode award
:47:41. > :47:47.goes to a film deserves to have turned up in more than one Oscar
:47:47. > :47:51.category, despite appearing in none. Tracing the life and times of Senna
:47:51. > :47:55.this gem became a hit when it struck a chord with audience who is
:47:55. > :48:01.care nothing about Formula One racing, but everything about great
:48:01. > :48:11.film-making. The award for Best Documentary goes to the superb
:48:11. > :48:46.
:48:46. > :48:50.Wow, fantastic. Thank you, Mark. Thank you to The Culture Show. The
:48:50. > :48:54.whole team behind Senna was so proud of the movie and win this
:48:54. > :49:02.prize. This has been an amazing journey making Senna, so this means
:49:02. > :49:06.a lot. It's going to be pride of place on a mantelpiece. Thank you.
:49:06. > :49:11.One of the most hotly contested categories in London and LA is that
:49:11. > :49:16.of Best Actor. This year the Oscars have finally recognised that Gary
:49:16. > :49:20.oldman exists, having previously overlooked his work in JFK, Sid and
:49:20. > :49:28.Nancy, or any of the other many movies in which he starred. Now
:49:28. > :49:33.Gary has broken his Oscar duck and got a nomination for his role in
:49:33. > :49:39.Tinker Tailor. Better late than never, but well done to the academy.
:49:39. > :49:41.But ignoring another actor, surely one of the finest and fearless of
:49:41. > :49:46.his generation. It gives me particularly smug pleasure to say
:49:46. > :49:51.that my Best Actor is a previous Kermode award winner. He took home
:49:51. > :49:54.the statueet in 2009 for his outstanding role in Hunger, now he
:49:54. > :50:00.is reunited with Steve McQueen for an equally revealing performance in
:50:00. > :50:04.Shame. The Kermode award for Best Actor goes, for the second time, to
:50:04. > :50:09.Michael Fassbender. One person for the rest of your life, I mean,
:50:09. > :50:12.it's... You know, you come to restaurants, you see couples
:50:12. > :50:16.sitting together and they don't even speak to one another. They
:50:16. > :50:26.probably don't have to speak because they're connected.
:50:26. > :50:31.
:50:31. > :50:41.they're just bored with one another. What's your longest relationship?
:50:41. > :50:46.
:50:46. > :50:56.Exactly. You can pour. Four months. To commit you have to actually give
:50:56. > :50:58.
:50:58. > :51:03.it a shot. I did. For four months. Thank you very much. Here we go.
:51:03. > :51:09.Still checking out the resemblance to Richard nicksen -- Nixon.
:51:09. > :51:15.Fantastic. Thank you so much, mark. You are the man. Your knowledge is
:51:15. > :51:20.the best out there. Obviously you are very perceptive. Seriously,
:51:21. > :51:27.thanks a million. It really is - means a lot to me to get it off you,
:51:27. > :51:31.as I say, you really love film. You know a lot about film. Yeah,
:51:31. > :51:38.hopefully we will see each other soon and I can buy you a pint.
:51:38. > :51:44.Thank you so much, cheers. Now, things are really heating up
:51:44. > :51:47.as we turn our attention to Best Actress. The Iron Lady may have
:51:47. > :51:51.divided critical opinion here, because it has the political
:51:51. > :51:59.insight and clout would you expect from the director of Mamma Mia but
:51:59. > :52:08.straoep straoep straoe -- straoep straoep's perform -- Meryl Streep's
:52:08. > :52:18.performance has united critics. She goes head to head with Rooney Mara.
:52:18. > :52:24.
:52:24. > :52:28.As for The Artist's Berego Bero. As for the awards, it's time for
:52:28. > :52:32.another first, hard though this may be to believe, I can't make up my
:52:32. > :52:36.mind between the two most brilliant actress performances I saw last
:52:36. > :52:40.year. Neither of which has troubled the Oscar nominations. So, since
:52:40. > :52:44.these are my awards and frankly, I am making up the rules as I go
:52:44. > :52:52.along, this year's award for Best Actress goes to not one, but two
:52:52. > :53:02.outstanding talents. Tilda Swinton for We need to talk about Kevin and
:53:02. > :53:11.Olivia Coleman for Tyrannosaur. Hello.
:53:11. > :53:17.Are you all right in there? Are you hiding from somebody?
:53:17. > :53:22.Can I move this rail? Thank you very much for this
:53:22. > :53:26.Kermode award. I don't know what to say. It's an honour to be sharing
:53:26. > :53:29.it with Tilda Swinton, that's pretty cool. I have been told this
:53:29. > :53:33.is my own and she's not going to come around and take this one. She
:53:33. > :53:43.can have her own. Thank you so much. It's a big honour and it's much
:53:43. > :53:58.
:53:58. > :54:05.better than getting an Oscar. Yeah, You are kidding. That is fantastic.
:54:05. > :54:09.Has he got chocolate inside? I want to unpeel it. That is for real. I
:54:09. > :54:14.am so stoked by this, I can't tell you. This is the one. This is the
:54:14. > :54:18.one, as far as I am concerned. I am so pleased. And I am so honoured to
:54:18. > :54:21.be honoured alongside Olivia who I just think was, you know, streets
:54:21. > :54:25.ahead of pretty much any work that was done this year. I am so proud,
:54:25. > :54:35.I don't know what to say. And Mark, you know, just spreading the love,
:54:35. > :54:36.
:54:36. > :54:40.and thank you very, very much. For my big chocolate Kermode.
:54:40. > :54:43.Now we come to our final award of the evening, Best Director and Best
:54:43. > :54:52.Film. The Oscars have managed to come up with nine contenders for
:54:52. > :54:56.Best Film in a list which loves Extremely Loud and Incredibly Close,
:54:56. > :55:01.whilst overlooking the ultra stylish guilty pleasures of Drive
:55:01. > :55:08.which has has proven a commercial and critical hit worldwide.
:55:08. > :55:11.There are some great films in Oscars list, most notably Hugo in
:55:11. > :55:17.which Martin Scorsese does something interesting with 3-D and
:55:18. > :55:20.of course The Artist, the black and white joys of cinema are still
:55:20. > :55:24.thriving in 21st century. Surprise, surprise, my favourite director and
:55:24. > :55:28.film of the year have both been completely overlooked by the Oscar
:55:28. > :55:34.voters, the same people who, let us not forget, once decided that the
:55:34. > :55:39.Best Film of the year was Driving Miss Daisy. Still, their loss is my
:55:39. > :55:49.gain and it gives me great pleasure to announce that the award for Best
:55:49. > :55:50.
:55:50. > :56:00.Director and Film go to Lyn Ramsey for We Need to Talk about Kevin.
:56:00. > :56:03.
:56:03. > :56:13.Kev, mom had something she wanted to tell you.
:56:13. > :56:17.
:56:17. > :56:25.I wanted to thank you for calling the ambulance. And. And, I was
:56:25. > :56:30.concerned that you might be feeling responsible. Why is that? Because
:56:30. > :56:37.you were supposed to be looking after her. We just don't want you
:56:37. > :56:43.to blame yourself. I don't. I never said I did. She's going to need a
:56:43. > :56:49.glass eye, Kevin. So we would appreciate you looking out for her
:56:49. > :56:59.and any name calling. You don't really remember being a kid much,
:56:59. > :56:59.
:56:59. > :57:03.do you dad? You're just going to have to suck it up. Thanks for this,
:57:03. > :57:08.Mark, what an honour. I am so pleased and you are much more
:57:08. > :57:11.handsome than Mr Oscar, so I think I will give you a kiss. There you
:57:11. > :57:16.go. There you have it, all the Kermodes awarded and order restored
:57:16. > :57:20.to the universe. Of course, we await the results of the Oscars,
:57:20. > :57:27.but there's not much point in them now, is there? Until this time time
:57:27. > :57:32.next year, thank you and good night. And you can hear Mark Kermode and
:57:32. > :57:39.Simon Mayo talking to den stkel Washington on next week's Edition
:57:39. > :57:45.of the film review on Radio 5 Live. We will be back in two weeks, but
:57:45. > :57:54.until then you can see two culture show specials. On Friday 24th
:57:54. > :57:59.February, and then David Hockney on Monday 27th, both at 7.00pm on BBC2.
:57:59. > :58:03.Finally, found is an Edinburgh- based art collective and sometimes
:58:03. > :58:05.experimental pop band. You can see their latest multimedia
:58:05. > :58:14.installation at the Glasgow International Festival in April and