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Welcome to the Culture Show from Glasgow. This week we have | :00:11. | :00:16. | |
outstanding opera, gorgeous Gothic and some wicked wit, so don't move! | :00:16. | :00:20. | |
Coming up: An operatic controversy. Composer John Adams tells Clemency | :00:20. | :00:23. | |
Burton-Hill about his infamous work, The Death of Klinghoffer. | :00:23. | :00:26. | |
A tale of our times. John Lanchester tells Professor John | :00:26. | :00:35. | |
Mullan about his new novel, Capital. And a dramatic life. I delve into | :00:35. | :00:40. | |
the complex world of neo-Gothic architect Augustus Pugin. | :00:40. | :00:43. | |
Mark Kermode on the best movies at the Viva Festival of Spanish and | :00:43. | :00:46. | |
Latin American film. Lynn Barber talks to Sue Townsend | :00:46. | :00:50. | |
about her new novel. And theatrical rebel Philip Ridley | :00:50. | :01:00. | |
:01:00. | :01:02. | ||
tells Miranda Sawyer about his latest play, Shivered. | :01:02. | :01:04. | |
First tonight, you can't have failed to notice that this year | :01:04. | :01:12. | |
Britain has been celebrating the bicentenary of Charles Dickens. But | :01:12. | :01:15. | |
I'd like to draw your attention to the 200th birthday of another great | :01:15. | :01:18. | |
Victorian. The architect and designer Augustus Pugin, who | :01:18. | :01:25. | |
instigated the 19th century gothic revival. I've been to visit Pugin's | :01:25. | :01:28. | |
home in Ramsgate to find out about this visionary man. | :01:28. | :01:35. | |
As night fell on September 10th, 1852, Amman was bundled onto a | :01:35. | :01:40. | |
train in Waterloo headed for Ramsgate in Kent. -- a man. Prone | :01:40. | :01:45. | |
to violent six and psychotic visions, he had been heavily | :01:45. | :01:49. | |
sedated with chloroform. He had just been sent to Bedlam by his | :01:49. | :01:54. | |
wife, a pauper's Hospital for the insane. His wife decided this was | :01:54. | :02:00. | |
no place for her husband to spend his last days. It was time to bring | :02:00. | :02:04. | |
him home. That man was none other than Augustus Pugin, now regarded | :02:04. | :02:08. | |
as one of the greatest architects of the Victorian age, but by the | :02:08. | :02:14. | |
time of his death in 1852, not only was see quite insane, his work was | :02:14. | :02:18. | |
also destined to become hopelessly unfashionable for more than a | :02:18. | :02:25. | |
century. Pugin can be difficult, a typical of tub-thumping Victorian | :02:25. | :02:29. | |
moralising evangelist, hard to get to know. I am hoping by visiting a | :02:29. | :02:34. | |
house that he built for himself, I can get an insight into the more | :02:34. | :02:44. | |
:02:44. | :02:47. | ||
interesting aspect of his As a devout Catholic convert, | :02:47. | :02:51. | |
Pugin's mission in life was to convert Britain back to a pre- | :02:51. | :02:55. | |
Reformation, medieval haven, where Gothic architecture would be a | :02:55. | :03:04. | |
moral force for good. And Ramsgate was home for many years, it was a | :03:04. | :03:09. | |
place above all when he dreamed his neo- Gothic Dream. Within three | :03:09. | :03:14. | |
days of being brought back to Ramsgate by Jane, Pugin was dead. | :03:14. | :03:17. | |
He was just 40 years old and he left behind the young wife he | :03:17. | :03:22. | |
adored, as well as eight children. Many believed to his death was | :03:22. | :03:28. | |
caused by overwork in his short life. He designed no fewer than 86 | :03:28. | :03:31. | |
buildings. Others think it was caused by the Mercury that he took | :03:31. | :03:36. | |
for his failing eyesight, possibly a symptom of syphilis, but Jane's | :03:36. | :03:40. | |
heroic efforts of getting him out of the hell-hole that was bedlam | :03:40. | :03:46. | |
were not entirely in vain. Thanks to her, he was able to die in peace, | :03:46. | :03:50. | |
surrounded by his family, in a place that he loved most of all. | :03:50. | :03:55. | |
This handsome family house, with a Catholic church attached, was built | :03:56. | :04:02. | |
by Augustus Pugin in 1854 and was his pride and joy. All his | :04:02. | :04:07. | |
architectural and spiritual ideals went into this one building. Until | :04:07. | :04:12. | |
a few years ago, the Grange, like Pugin's reputation at the time of | :04:12. | :04:17. | |
his death, was in a terrible state. In danger in fact of being boarded | :04:17. | :04:22. | |
up. But thankfully, the Landmark Trust stepped in to restore it just | :04:22. | :04:27. | |
in time. Caroline, why do you think this house was so were the a | :04:27. | :04:32. | |
restoration? It is the seminal building from a seminal architect. | :04:32. | :04:37. | |
Augustus Pugin sets the tone for the Gothic revival in Britain in | :04:37. | :04:41. | |
the mid- 19th century. It is a house of incredible self-confidence. | :04:41. | :04:47. | |
Imagine, you off 30 and yet to stamp your motto all over the walls. | :04:47. | :04:55. | |
-- you are just 30. Forwards, forwards! It says! And yet at the | :04:55. | :05:00. | |
same time, this is an incredibly modern house because at the time he | :05:00. | :05:05. | |
was building in the early 1840s, this kind of entrance hall was very | :05:05. | :05:09. | |
radical and almost a little bit risky. You have this gallery | :05:09. | :05:13. | |
running around the top. A you can see into people's bedrooms! | :05:13. | :05:18. | |
bedroom door is there. Do you think his contemporaries would have been | :05:18. | :05:21. | |
shocked that you can look up and perhaps see the lady of the house | :05:21. | :05:27. | |
stumbling out of bed in a dressing- gown? Yes. You can see who is | :05:27. | :05:31. | |
coming and going, you can see children running backwards and | :05:31. | :05:34. | |
forwards on the nursery. He is setting the tone for how we lived | :05:34. | :05:39. | |
our lives today. He introduces anarchy into the restrained world | :05:39. | :05:45. | |
of Georgian architecture. Yes, a willingness to be spontaneous. This | :05:45. | :05:51. | |
would have been a family sitting room, so Pugin himself there, and | :05:51. | :05:57. | |
then this is Jane, his third wife. He described her as the first great | :05:57. | :06:02. | |
Gothic month. Terribly important to him, his soulmate -- first great | :06:02. | :06:08. | |
Gothic woman. She has a twinkle in her eye. I think she was a special | :06:08. | :06:13. | |
lady. Pugin needed a woman in his life. He was very attracted to | :06:13. | :06:17. | |
women and he was highly sexed so do have a wife and a mother in his | :06:17. | :06:23. | |
home was terribly important. He said without a woman he felt like a | :06:23. | :06:28. | |
Marron at sea without a compass. The fireplace is blended. -- he | :06:28. | :06:35. | |
felt like a man at sea without a compass. The fireplace is splendid. | :06:35. | :06:39. | |
Lot of meaning in the House and the fireplace is no exception. The | :06:40. | :06:44. | |
little lamb is for his daughter, Agnes. Then we have the letter C | :06:44. | :06:50. | |
for Cuthbert, his son. Each of his children can say, that is me. | :06:50. | :06:54. | |
a romantic version of medievalism. I sometimes thought of him as being | :06:54. | :06:59. | |
dry but you get the other side of him, the intimacy, his love of | :06:59. | :07:05. | |
having the children running about, his study is just there. He did all | :07:05. | :07:08. | |
of his works separated only by a curtain and in his darker days, he | :07:08. | :07:16. | |
thought this was a terrible mistake. He spoke about Perpetual screams, | :07:16. | :07:23. | |
he said he may as well work in a pig market and to try to get work | :07:23. | :07:28. | |
done! He could hardly complain when he designed his workspace that was | :07:28. | :07:35. | |
meant to be invading! Exactly! On a daylight today come up with the | :07:35. | :07:38. | |
sunlight streaming through and the colours of the stained-glass, you | :07:38. | :07:43. | |
can imagine it would be an inspiring place to work, and he has | :07:43. | :07:46. | |
dressed up with positive vibes to give him inspiration. He has got | :07:47. | :07:51. | |
his famous, favourite saints and around the world, -- around the | :07:51. | :07:57. | |
room, he has put the names of his favourite places and people. | :07:57. | :08:01. | |
Strange. Very modern and yet he is possessed by the past as though he | :08:01. | :08:06. | |
wants to resist the modern age, but the degree with which he resists it | :08:06. | :08:13. | |
is in itself modern! Exactly! Pugin. His great medieval project | :08:13. | :08:18. | |
was always doomed to fail, however hard he tried. He could never hold | :08:18. | :08:24. | |
back the march of time. They say an English man's home is his castle. I | :08:24. | :08:28. | |
don't think I have ever felt that more strongly than here. This | :08:28. | :08:35. | |
little walled garden, little medieval house, and all around it, | :08:35. | :08:39. | |
evidence of the modern age. I wonder if it wasn't a huge effort | :08:39. | :08:44. | |
of holding modernity at bay, trying to live the dream of the Gothic, | :08:44. | :08:49. | |
the medieval, I wonder if it wasn't the effort of that that in the end | :08:49. | :08:59. | |
:08:59. | :09:08. | ||
Few operas get people talking as much as The Death of Klinghoffer. | :09:08. | :09:11. | |
Based on the true story of a Jewish American tourist who was killed | :09:11. | :09:14. | |
when a cruise liner was hijacked by Palestinian militants, Klinghoffer | :09:14. | :09:24. | |
:09:24. | :09:24. | ||
whipped up a political storm when it was first performed in 1991. It | :09:24. | :09:28. | |
continues to resonate in a world where many of the conflicts it | :09:28. | :09:33. | |
considers remain unresolved. As the ENO presents its London stage | :09:33. | :09:36. | |
premiere, Clemency Burton Hill's been talking to the shows director, | :09:36. | :09:46. | |
:09:46. | :09:53. | ||
Tom Morris, and its composer, John People often say that opera needs | :09:53. | :09:57. | |
to be a bit more relevant, but what happens when someone writes one | :09:57. | :10:03. | |
that is. The hijack of the Achille Lauro cruise liner has ended but | :10:03. | :10:09. | |
not without bloodshed. The body of a man cost a short in Syria was | :10:09. | :10:16. | |
identified this morning as that of Leon Klinghoffer. John Adams is | :10:16. | :10:20. | |
America's most admired and frequently performed composer and | :10:20. | :10:24. | |
when he collaborated with Alice Goodman on a new opera about the | :10:24. | :10:28. | |
murder of Leon Klinghoffer, a Jewish-American tourist, they knew | :10:28. | :10:32. | |
it would be controversial, but when it was first performed in New York, | :10:32. | :10:36. | |
the Death of Klinghoffer proved a bit too relevant for its own good. | :10:36. | :10:41. | |
By depicting the Palestinian militants as human beings, the | :10:41. | :10:46. | |
opera was charged with sympathising or even romanticising terrorism. | :10:46. | :10:50. | |
Given the highly charged subject matter, they create is expected it | :10:50. | :10:55. | |
to have a big impact up the response was extreme, with | :10:55. | :11:03. | |
accusations of prejudice and naivety flying from all sides. It | :11:04. | :11:08. | |
is perhaps not surprising then that no London theatre has dared to | :11:08. | :11:14. | |
stage the work, until now. I think the shift may be that you are | :11:14. | :11:18. | |
filling in this human details around the songs, so the connection | :11:18. | :11:25. | |
is becoming less academic and more human... For the last six weeks, | :11:25. | :11:30. | |
the ENO had been rehearsing in the studio in east London under the | :11:30. | :11:35. | |
watchful eye of directed Tom Morris, fresh from his hugely successful | :11:35. | :11:40. | |
stage production of warhorse. This is his first full-blown opera. It | :11:40. | :11:44. | |
is a very controversial peace and your production does not shy away | :11:44. | :11:49. | |
from difficult questions. Tell us about your approach. I have no | :11:49. | :11:53. | |
sympathy with people who think that we should deny the humanity of | :11:53. | :11:58. | |
criminals. I don't think we learn or understand anything. The | :11:58. | :12:02. | |
greatest works of fiction one can imagine, from Macbeth to crime and | :12:02. | :12:07. | |
punishment, have earned their greatness by applying real, human | :12:07. | :12:11. | |
understanding to what might be going on in the mind of the | :12:11. | :12:21. | |
:12:21. | :12:26. | ||
# Lebanon, Palestine #. My view is a more constructive | :12:26. | :12:31. | |
approach, creatively and politically, is to say, yes, that | :12:31. | :12:35. | |
was a political act, but what might have been behind it? If we | :12:35. | :12:39. | |
understand it, we do not condone the Act but we put ourselves in a | :12:39. | :12:43. | |
position where a dialogue might emerge where this is less likely to | :12:43. | :12:49. | |
happen again. I got a sneak preview of the new production and a chance | :12:49. | :12:59. | |
:12:59. | :13:06. | ||
The before the story starts, the school transports us back to the | :13:06. | :13:14. | |
roots of the Israel-Palestine conflict, setting a political | :13:14. | :13:24. | |
:13:24. | :13:31. | ||
What drew me to the story was the fact that it operated on two levels, | :13:31. | :13:36. | |
historically. On the one hand, it really felt like a story that came | :13:36. | :13:43. | |
out of the Old Testament, implacable, hatred I must be bought, | :13:43. | :13:48. | |
misunderstanding, struggles over land -- hatred amongst people. On | :13:48. | :13:52. | |
the other hand, it was painfully relevant. It was torn out of the | :13:52. | :14:02. | |
:14:02. | :14:10. | ||
headlines, and that offended a lot One of the most controversial | :14:10. | :14:14. | |
aspects of the opera is its insistence on the equality of the | :14:14. | :14:18. | |
two narratives. The Chorus of Exiled Palestinians is followed | :14:18. | :14:28. | |
:14:28. | :14:45. | ||
immediately by the Chorus of Exiled #... | :14:45. | :14:51. | |
Since we parted #. We opened in 2004 at a London press | :14:51. | :14:57. | |
conference looking back at the events. The central character is | :14:57. | :15:07. | |
:15:07. | :15:15. | ||
the captain, who is looking back on Almost as if he was restlessly | :15:15. | :15:18. | |
examining his conscience and wondering whether he could have | :15:18. | :15:21. | |
done anything different, whether he could have intervened earlier or in | :15:21. | :15:31. | |
:15:31. | :15:37. | ||
a different way and saved Klinghoffer. It's 21 years since | :15:37. | :15:41. | |
you wrote The Death of Klinghoffer. It's never been performed in London. | :15:41. | :15:47. | |
Do we need to revisit it now? allows us to feel, and that's part | :15:47. | :15:51. | |
of the problem of The Death of Klinghoffer for many people because | :15:51. | :15:56. | |
they don't want to feel certain things. They've made their mind up | :15:56. | :16:03. | |
who's bad, who's innocent, and if the music suggests that everyone | :16:03. | :16:13. | |
has feelings, is human in one way or another, that troubles them. | :16:13. | :16:17. | |
After all that's been said about Klinghoffer, maybe it's time to let | :16:17. | :16:26. | |
And there are four more performances of The Death of | :16:26. | :16:29. | |
Klinghoffer at the London Coliseum between now and the 9th of March. | :16:29. | :16:37. | |
Now, it seems that the writer John Lanchester has found his favourite | :16:37. | :16:42. | |
subject in the financials me the West is in. He's already given us a | :16:42. | :16:46. | |
non-fiction account of it in Whoops! Why Everyone Owes Everyone, | :16:46. | :16:53. | |
and now he's tackling the topic in fiction for his new novel, Capital. | :16:53. | :16:55. | |
He tells Professor John Mullan all about it. | :16:55. | :17:04. | |
London 2012 - Home to nearly eight million people | :17:04. | :17:09. | |
and nearly 300 different languages, an old metropolis where new people | :17:09. | :17:15. | |
are always arriving, a vibrant place and one of the most expensive | :17:15. | :17:25. | |
:17:25. | :17:26. | ||
cities in the world. London takes centre stage in John Lanchaster's | :17:26. | :17:34. | |
new book Capital. It's a state-of- the-nation in the Victorian | :17:34. | :17:41. | |
tradition. It looks how the restless inhabitants of the city | :17:42. | :17:47. | |
are put together but brought apart by the power of money. It's a way | :17:47. | :17:50. | |
to show how the economics are shaped by post-credit crunch | :17:50. | :17:56. | |
Britain. The novel is set in a fictional | :17:56. | :18:00. | |
Pepys Road, a typical South London street where ballooning property | :18:00. | :18:03. | |
values have made for surprising neighbours - a banker and a | :18:03. | :18:07. | |
Premiership footballer have moved in next to the local shopkeeper and | :18:07. | :18:12. | |
a pensioner who has lived in the street for decades. One day | :18:12. | :18:16. | |
everyone receives a mysterious postcard bearing the single | :18:16. | :18:20. | |
sinister sentence, "We want what you have." | :18:20. | :18:25. | |
A host of characters becomes entangled in this complex tale | :18:25. | :18:30. | |
which spans the different classess, generations and nationalities of | :18:30. | :18:34. | |
the capital city. John, you're not actually originally a Londoner. Why | :18:34. | :18:37. | |
did you really want to write a novel about London now? It seemed | :18:37. | :18:42. | |
really interesting, the condition of the city. It has energies and | :18:42. | :18:47. | |
clomp lexties and global things taking place here, and I want to | :18:47. | :18:51. | |
have London's themes taking place on this particular street with this | :18:51. | :18:54. | |
great diversity of characters moving through it. Did the ambition | :18:54. | :18:59. | |
of the novel come before the plot and the characters? Ambition is a | :18:59. | :19:03. | |
complicated thing in relation to books because the highest ambition | :19:03. | :19:06. | |
of all is not to suck. LAUGHTER | :19:06. | :19:10. | |
And that's also the most important ambition. If you think of the | :19:10. | :19:15. | |
parallel with Dickens, the odd thing - it often seems that he | :19:15. | :19:19. | |
relished living in London and yet bequeathed a rather hellish | :19:19. | :19:25. | |
representation of it. Were you aware of that when you were writing | :19:25. | :19:30. | |
this novel about contemporary London? Places people are desperate | :19:30. | :19:34. | |
to get away from and to get to. We're the second kind of place. A | :19:34. | :19:39. | |
lot of the characters in the book have that sense of wanting to make | :19:39. | :19:42. | |
their fortunes in London. It was important to have immigrant | :19:42. | :19:46. | |
experience at the heart of the novel? Yes, people who come from | :19:46. | :19:51. | |
other places also allow you to bring other ways of seeing other | :19:51. | :19:58. | |
perspectives, bringing an unhas been it waited -- unhas been itated | :19:58. | :20:03. | |
look at the city. Patrick Carver took to going for | :20:03. | :20:08. | |
walks. The effect of his long solo walks around the city wasn't to | :20:08. | :20:14. | |
make him suddenly love London, but he began to feel he understood it | :20:14. | :20:17. | |
better, understood where things were, understood the rhythm of the | :20:17. | :20:21. | |
city. He realised what was disconcerting for him was the | :20:21. | :20:25. | |
impression of everybody being busy all the time. People always seemed | :20:25. | :20:29. | |
to be doing things. Even when they weren't doing anything, they were | :20:29. | :20:32. | |
walking dogs or going to betting shops or reading newspapers at bus | :20:32. | :20:37. | |
stops or listening to music through headphones or skateboarding along | :20:37. | :20:41. | |
the pavement or eating fast food as they walked along the street so | :20:41. | :20:48. | |
even when they weren't doing things, they were doing things. The novel | :20:48. | :20:52. | |
also takes on an obsession of many Londoners, which is the sort of | :20:52. | :20:56. | |
ballooning property prices. I know, and it's one of the most boring | :20:56. | :21:00. | |
things about it. I remember it from the '80s - there was a point you | :21:00. | :21:02. | |
literally couldn't have a conversation without people | :21:02. | :21:06. | |
starting to boast about property prices within seconds. Of all the | :21:06. | :21:09. | |
diverse, amazing things that exist in the world, there is something | :21:09. | :21:15. | |
dispiriting about the fact that people only want to talk about what | :21:15. | :21:18. | |
their house is worth. Do you think a reader who seeing what this is | :21:18. | :21:23. | |
about - wanting money, earning money, worrying about not having | :21:23. | :21:28. | |
enough money - would that reader end up thinking money is the poison | :21:28. | :21:33. | |
of London? It's easy to portray any material acquisition as a form of | :21:33. | :21:37. | |
corruption or fallenness, which it manifestly isn't, and, you know, | :21:37. | :21:40. | |
there are characters in the book who are poor and who need money | :21:40. | :21:46. | |
just in the - the most basic way to have security. Yeah. You're - you | :21:47. | :21:50. | |
do that perhaps the most difficult thing in contemporary fiction for a | :21:50. | :21:54. | |
Londoner, which is you make a traffic warden a sympathetic | :21:54. | :21:58. | |
character in her attempt to keep body and soul together. I have | :21:58. | :22:01. | |
always been interested in traffic wardens because of that thing of | :22:01. | :22:05. | |
their - they have a kind of strange dual status in that they're - | :22:05. | :22:10. | |
they're invisible and everyone hates them. | :22:10. | :22:19. | |
Catina had never known a subject in which people had become irrational | :22:19. | :22:23. | |
as completely as parking in this absurdly rich country. When you | :22:23. | :22:26. | |
gave people a ticket, they were angry, always, inevitably. There | :22:26. | :22:31. | |
were times when she wanted to say, "Get down on your knees. Be | :22:31. | :22:35. | |
grateful. A billion people living on a dollar a day, as many who | :22:35. | :22:39. | |
can't find clean drinking water. You live in a country where there | :22:39. | :22:42. | |
is the promise to feed, clothe, shelter and doctor you from the | :22:42. | :22:46. | |
moment of your birth to the moment of your death for free, where the | :22:46. | :22:52. | |
state won't come and beat, imprison or conscript you, where the life | :22:52. | :22:54. | |
expectancy is one of the longest in the world, where the Government | :22:54. | :22:59. | |
doesn't lie to you about aids and the music isn't bad and the only | :22:59. | :23:03. | |
bad thing is the climate, and you find it in yourself to complain | :23:03. | :23:08. | |
about parking - Whoa, Whoa!" You take characters who are quite | :23:09. | :23:16. | |
remote from you and probably most of the readers, a Zimmer and ref -- | :23:16. | :23:21. | |
Zimbabwean refugee who is a traffic warden, a Polish builder, and you | :23:21. | :23:25. | |
tell us what they're thinking and what they're like. Did you hesitate | :23:25. | :23:30. | |
in your ability to do that? There is something audacious and | :23:30. | :23:34. | |
presumptuous about making things up anyway. I didn't really because | :23:34. | :23:39. | |
it's my made-up world. It's my train set. I am allowed to run my | :23:39. | :23:45. | |
trains in any way I like, and I have never felt a problem with that. | :23:45. | :23:48. | |
Capital was published this week by Faber and Faber, and you can see | :23:48. | :23:56. | |
what they make of it on the Review Show tonight at 11.00pm on BBC Two. | :23:56. | :24:01. | |
Next tonight, Welsh artist Osi Rhys Osmond is embedded in a love of his | :24:01. | :24:05. | |
country's landscape. He was brought up in the Rhondda Valley and his | :24:05. | :24:08. | |
latest pictures are inspired by the rise and the Klein of the region's | :24:08. | :24:18. | |
:24:18. | :24:24. | ||
coal mining industry. Here's If we're honest, the art world can | :24:24. | :24:28. | |
sometimes feel a little bit self- involved with its gaze firmly stuck | :24:28. | :24:34. | |
on its own naval. You have trendy collectors who like to buy art in | :24:34. | :24:38. | |
trendy London gallery, but I think art shouldn't just be the preserve | :24:38. | :24:43. | |
of highfalutin, metropolitan elite. Any artist worth him or her salt | :24:43. | :24:48. | |
should be able to summon art out of the most unlikely, humdrum | :24:48. | :24:54. | |
surroundings. Art should be able to make us consider afresh what people | :24:54. | :24:57. | |
generally overlook. That is what the work of Welsh artist Osi Rhys | :24:57. | :25:07. | |
:25:07. | :25:09. | ||
Osmond is all about. Here we are in Wales in Wattsville. | :25:09. | :25:12. | |
I'm sorry. Let me be honest. I hadn't heard of this town. Not many | :25:12. | :25:16. | |
have heard of Wattsville. There are people who live here who haven't | :25:16. | :25:21. | |
heard of Wattsville. You come from Wattsville. I do. My business is to | :25:21. | :25:25. | |
put it on thema. It's a village that was built to house miners. It | :25:25. | :25:30. | |
didn't exist before the coal mines. We're walking on the back streets. | :25:30. | :25:33. | |
This is where I was brought up. What are these houses? I was | :25:33. | :25:36. | |
brought up in that house there where my mother lived until this | :25:36. | :25:40. | |
time last year. Really? Let's have a look. This is the shed - the | :25:40. | :25:45. | |
beautiful shed my father built. This one, with the corrugated iron | :25:45. | :25:52. | |
roof? Yes. He was a miner? Yes, as was his father. He worked in the | :25:52. | :25:59. | |
colliery before it finished. Living in a narrow lane, it does give you | :25:59. | :26:03. | |
a perspective... What's going on here? Somebody has cast aside a | :26:03. | :26:09. | |
broken doll placed in the middle of the road. Almost looks like a Welsh | :26:09. | :26:13. | |
costume. That's macabre. Where's the head? Around us I should | :26:13. | :26:23. | |
:26:23. | :26:26. | ||
In a way... Is that a metaphor for... Maybe, but she's nicely | :26:26. | :26:32. | |
dressed. As well as being an artist, you're a thinker. You're a Welsh | :26:32. | :26:36. | |
sage. Thank you very much. strikes me your work - one context | :26:36. | :26:41. | |
to view it in is that whole trend of psycho-geography, which is | :26:42. | :26:47. | |
actually associated more readily with writers, people like Ian | :26:47. | :26:51. | |
Sinclair, McFarland recently... Yeah. These are people interested | :26:51. | :26:55. | |
in interrogating the identity of a particular area. Yes. I make big | :26:55. | :27:00. | |
maps and drawings which include writing and history and layers and | :27:00. | :27:05. | |
dates and contours, so I am trying to do two-dimensionly something as | :27:05. | :27:15. | |
:27:15. | :27:36. | ||
complex as time. What I call drive through here and not pay it | :27:36. | :27:40. | |
that much attention. Most people drive the world without paying it | :27:40. | :27:44. | |
too much attention. Everywhere is worthy of attention. I should like | :27:44. | :27:47. | |
to know you know your own square mile as well as you possibly can | :27:47. | :27:51. | |
before you step into the next square mile. What about people who | :27:51. | :27:56. | |
don't come from this square mile? Every scare mile in a sense is | :27:56. | :28:00. | |
representative of every other square mile. Each one of these | :28:00. | :28:04. | |
people who passes through this place - if they pause through a | :28:04. | :28:06. | |
moment consider themselves and the space they're in and the time | :28:06. | :28:10. | |
they're in, their lives and their eternity would mean much more to | :28:10. | :28:15. | |
them. You feel the man who is tired of Wattsville is tired of life? | :28:15. | :28:18. | |
Absolutely. I felt the man who was tired of London has suddenly grown | :28:18. | :28:28. | |
:28:28. | :28:38. | ||
The phrase graphic-a psychic geography has a wonderful ring to | :28:38. | :28:45. | |
it. When I first did the drawings, I did it where I lived, looking at | :28:45. | :28:48. | |
the sea and the estuary and the military planes and the ancient | :28:48. | :28:53. | |
historic sites, and there is a density in what you see, so if you | :28:53. | :28:57. | |
examine each of them one by one and place them within the landscape, I | :28:57. | :29:02. | |
was writing a graphic essay, so when I thought of combining it with | :29:02. | :29:08. | |
mapping, it took the term graphics are good geography for me, I was | :29:08. | :29:15. | |
claiming back my landscape, defining it and making it mind -- | :29:15. | :29:20. | |
graphic striker Jo geography. You won't see the things I am a seven | :29:20. | :29:24. | |
to but I know they are there and once you see the drawings and look | :29:24. | :29:29. | |
at the landscape, you will know they are there as well. Do you ever | :29:29. | :29:34. | |
worry that you are too much in thrall to the past? We are what the | :29:34. | :29:39. | |
past is, without the past we are nothing. We exist on top of the | :29:39. | :29:43. | |
past we have. My father had Alzheimer's and when he had that, | :29:43. | :29:50. | |
he was not the man he had been. He became distressed. Be removed the | :29:50. | :29:54. | |
colliery pits and made it more tidy in the village. The physically | :29:54. | :29:59. | |
removed his memory and his memory was demolished. Alzheimer's was a | :29:59. | :30:03. | |
part of it but I think it was hastened by the clearing away of | :30:03. | :30:09. | |
the colliery Picts, it was such a prominent part of life. Amid the | :30:09. | :30:16. | |
drawings I make to explain to me -- I make. In my firmament, there is a | :30:16. | :30:21. | |
hole in the roof of my life so I have to make something to fill the | :30:21. | :30:26. | |
hole. Usually when I make it, another hole appears. And what is | :30:26. | :30:33. | |
the whole? It is a gap in my understanding. Land and Inheritance | :30:33. | :30:36. | |
opens tomorrow at the Rhondda Heritage Park and runs until the | :30:36. | :30:43. | |
22nd of April. Still to come: Mark Kermode on the highlights of the | :30:43. | :30:46. | |
Viva Spanish and Latin American Film festival but first, the news. | :30:46. | :30:50. | |
Dolphins reject human status. Drought could make Mancunians take | :30:50. | :31:00. | |
:31:00. | :31:01. | ||
off anoraks. And paparazzi found in Sienna Miller's womb. Those are | :31:01. | :31:11. | |
:31:11. | :31:16. | ||
just read recent straw -- strong -- story lines from dailymash.co.uk. A | :31:16. | :31:18. | |
British satirical website that mixes the biting and the laugh-out- | :31:18. | :31:21. | |
loud funny and has become a big success. Tim Samuels went to meet | :31:21. | :31:24. | |
Neil Rafferty, the man whose wit lurks behind those wicked headlines. | :31:24. | :31:27. | |
The one thing we do have, apart from a couple of violence somewhere | :31:27. | :31:33. | |
in the Argentina, is our superior sense of satire. No one does satire | :31:33. | :31:37. | |
quite like the British, apart from Americans who seemed quite good now, | :31:38. | :31:43. | |
and there was an Italian who was pretty funny about Berlusconi, but | :31:43. | :31:50. | |
satire is a heart of the British soul. And the biggest wielders of | :31:50. | :31:55. | |
that British sort of climate is the Daily Mash and I have come to | :31:55. | :32:05. | |
:32:05. | :32:18. | ||
This is the editorial headquarters of the Daily Mash. Basically that | :32:18. | :32:22. | |
desk is where it all happens, that is what makes the Daily Mash every | :32:23. | :32:28. | |
day. It is an amazing thing we can make the website with no office. | :32:28. | :32:32. | |
When you write satire, you need to be fuelled by anger and vitriol | :32:32. | :32:39. | |
about the system and you a SAT... Looking up the window. -- and you | :32:39. | :32:46. | |
are sat there. Because I am such an angry person, it doesn't really | :32:46. | :32:50. | |
matter what my surroundings are like. If the French countryside was | :32:50. | :32:55. | |
not out there with the beautiful sunshine, I don't know what the | :32:55. | :32:59. | |
Daily Mash would be like, it would be a massive screen! I need to come | :32:59. | :33:04. | |
out here and just feel normal and then I go back in there and the | :33:05. | :33:09. | |
anger comes out, the desire to hurt people is given free rein, to make | :33:09. | :33:17. | |
them cry! That is not a bad way to make a living. Independent Scotland | :33:17. | :33:22. | |
could be exactly the same, or warn experts. As Alex Salmond set out | :33:22. | :33:27. | |
his timetable for an independence referendum, he was dealt a blow | :33:27. | :33:30. | |
after research showed separation from the UK would make absolutely | :33:30. | :33:35. | |
no difference whatsoever. Professor Henry from Institute of Studies | :33:35. | :33:41. | |
said it would still be damp and windy. He added, the rest of the UK | :33:41. | :33:46. | |
will also remain exactly the same, only more so. When we started, we | :33:46. | :33:55. | |
did not know what it was going to do. You know... But it grew quite | :33:55. | :34:01. | |
quickly and before we knew it, it was a full-time job. Founded in | :34:01. | :34:08. | |
2007, the Daily Mash is the UK's most successful satirical website. | :34:08. | :34:13. | |
It has spawned a number of hard copy books, a radio pilot and gets | :34:13. | :34:17. | |
1.5 million hits a month, from people in offices who like to waste | :34:17. | :34:24. | |
time. Some people have got the idea that the Daily Mash is a bit right | :34:24. | :34:28. | |
wing and I think that is because satire is generally left wing, so | :34:28. | :34:32. | |
if you get satirical content that does not belong in that Strand, the | :34:32. | :34:36. | |
automatic assumption is that you must be opposed to the left wing. | :34:37. | :34:42. | |
We are not. We have an equal level of contempt for every strand of the | :34:42. | :34:51. | |
political spectrum. The Daily Mash is against all politics. It is | :34:51. | :34:57. | |
obvious that it is an incredibly cynical exercise. Nick Clegg's mum | :34:57. | :35:03. | |
writes an angry letter to David Cameron's mum, demanding an end to | :35:03. | :35:08. | |
the taunting of her son. She said Nick keeps bursting into tears and | :35:08. | :35:12. | |
refused to go to the House of Commons, claiming he had a sore | :35:12. | :35:16. | |
stomach. She wrote, while our children are running the country, I | :35:16. | :35:21. | |
would ask that your son it is nice to my son and lets him join in with | :35:21. | :35:26. | |
European summits. A source close to Mrs Cameron said she did not take | :35:26. | :35:33. | |
kindly to being lectured by a Dutch cow and put the letter in the bin. | :35:33. | :35:37. | |
The new Labour under any apprehension that what you do might | :35:37. | :35:40. | |
make a small bit of difference? couldn't care less about making a | :35:40. | :35:46. | |
difference. I am not so confident in my abilities as a writer at the | :35:46. | :35:52. | |
Daily Mash, of its cultural impact, to think it makes a difference. | :35:53. | :35:59. | |
This is what we think, it is funny, there it is. Read it, don't read it. | :35:59. | :36:04. | |
Our job is to make people laugh about the news. As we plunged | :36:04. | :36:07. | |
deeper into economic despair, perhaps Weemaes satire now more | :36:07. | :36:17. | |
:36:17. | :36:18. | ||
than ever. -- perhaps we need satire. Back to you, Andrew. | :36:18. | :36:22. | |
It has been 13 years since Sue Townsend introduced the world to | :36:22. | :36:27. | |
the spotty, respectable Adrian Mole. She says he was largely based on | :36:27. | :36:34. | |
herself. Her new book, A Woman Who Went To Bed For A Year, is also | :36:34. | :36:44. | |
:36:44. | :36:47. | ||
semi biographical. Sue Townsend has been meeting our reporter. In 1982, | :36:47. | :36:53. | |
while the sounds of Madness was ringing over Britain, Leicester | :36:53. | :36:58. | |
were celebrating its own it chopped topping resident. Sue Townsend was | :36:58. | :37:02. | |
living in the suburbs when she created her greatest character. | :37:02. | :37:07. | |
Adrian Mole would become be Harry Potter of its day and make Sue | :37:07. | :37:11. | |
Townsend the best selling author of the decade. When I last visited Sue | :37:11. | :37:15. | |
Townsend at home, complications with her diabetes meant she was | :37:15. | :37:20. | |
starting to lose her sight. Two years later, she would be | :37:20. | :37:29. | |
registered blind and her life as a writer would become very different. | :37:29. | :37:34. | |
Her condition also means she has trouble walking but she is anything | :37:34. | :37:39. | |
but downbeat. This is an author who can be relied on to find humour in | :37:39. | :37:43. | |
almost any situation. Her latest novel is no exception. The book | :37:43. | :37:50. | |
follows glamourous 50-year-old Eva, who won the day had teenage twins | :37:50. | :37:55. | |
leafy university, decides she has had enough of being a dutiful wife | :37:55. | :37:59. | |
and mother. She climbs into bed fully clothed and decides to the | :37:59. | :38:04. | |
irritation of a family that it is her turn to be waited on. Eva sat | :38:05. | :38:08. | |
up straight, she wanted to get out of bed and put an end to the | :38:08. | :38:11. | |
trouble she was causing but when it came to swinging her legs round, | :38:12. | :38:15. | |
the floor didn't look solid. She felt that if she stood, she would | :38:15. | :38:25. | |
:38:25. | :38:27. | ||
sink through the floorboards as though they were made of jelly. | :38:27. | :38:31. | |
love A Woman Who Went To Bed For A Year. It is your sort of thing that | :38:31. | :38:37. | |
it is very funny but it is also really sad in places. But I | :38:37. | :38:40. | |
remember that when I interviewed you 11 or 12 years ago, you said | :38:40. | :38:44. | |
you were going to write one more comic novel called A Lump In The | :38:44. | :38:50. | |
Bed. That's right! Was that a germ of this? It was. And I forgot to | :38:50. | :38:56. | |
call it A Lump In The Bed! Have you ever had these fantasies about | :38:56. | :39:03. | |
going to bed, signing off as it I had three children under five | :39:03. | :39:08. | |
when I was 23. A large part of that was on my own as well so I had | :39:08. | :39:13. | |
three part-time jobs, one for each child! So it was a fantasy of mine | :39:13. | :39:23. | |
:39:23. | :39:23. | ||
to be sent to prison! Right! Not to bed! Not to bed! I was sent to | :39:23. | :39:27. | |
prison and I could read all day on my bunk bed, reading was the most | :39:27. | :39:37. | |
:39:37. | :39:45. | ||
important thing, apart from people. In Sue Townsend's latest novel, the | :39:45. | :39:49. | |
protagonist's refusal to leave her bed is her way of taking a stand | :39:49. | :39:53. | |
against the mundane routine of motherhood and her failing marriage. | :39:53. | :39:58. | |
She is exhausted, she is tired. She has been living a licence she | :39:58. | :40:04. | |
married a man she didn't really loves, and she has been a bit | :40:04. | :40:09. | |
cowardly -- living a lie. She couldn't bear to lease. Once she | :40:09. | :40:19. | |
:40:19. | :40:20. | ||
goes to bed, she really wants to think, and slowly turn herself back, | :40:20. | :40:28. | |
and then start again. Eva's self- imposed isolation makes her | :40:28. | :40:32. | |
increasingly dependent on those around her, a situation echoed in | :40:32. | :40:37. | |
the author's own life in recent years. In at 2009, having battled | :40:37. | :40:42. | |
kidney disease of five years, Sue Townsend's health reached a | :40:42. | :40:47. | |
critical stage and she was at risk of kidney failure when she received | :40:47. | :40:53. | |
a life-saving transplant from her oldest son. There was a phase in | :40:53. | :40:57. | |
your life we suddenly became a lot more dependent on other people, and | :40:57. | :41:02. | |
that is what is happening to Eva. Is there a connection that the | :41:02. | :41:07. | |
novel is based on your own feelings? There is but it is only | :41:07. | :41:12. | |
through talking to you that I have realised that actually. I am always | :41:12. | :41:17. | |
in a wheelchair when I go out. We are both dependent on the people | :41:17. | :41:26. | |
around us. Suet explores the funny side of dependence through Eva, who | :41:26. | :41:31. | |
asks her mother-in-law to assist with a personal matter. She said, I | :41:31. | :41:36. | |
was wondering if you would help me to get rid of my waist. Her mother- | :41:36. | :41:40. | |
in-law paused, and then gave a shops smile and said, are you | :41:40. | :41:49. | |
asking me, Eva Beaver, to dispose of your wee-wee and who? Who gets | :41:49. | :41:53. | |
through a joint bottle of domestics a-week and is as tedious about | :41:53. | :42:00. | |
these things? -- a joint bottle of bleach. Eva said, OK, I asked and | :42:00. | :42:06. | |
you said no. Her strength in the face of illness is remarkable but I | :42:06. | :42:10. | |
know there is still one thing that she longs for. To pick up a book | :42:10. | :42:16. | |
and read. Is that the worst thing about being blind? Yeah. I have not | :42:16. | :42:21. | |
been able to even talk about it because it is so painful. The books | :42:21. | :42:28. | |
I have already red and remember... I want to re-reads them. But it | :42:28. | :42:35. | |
might mean you have to write more! It might be good for your readers! | :42:35. | :42:39. | |
Once you change in such a big way, you can only look for the good in | :42:39. | :42:45. | |
life. That is the way to survive. It is a very, very moving book, I | :42:45. | :42:52. | |
thought. Thank you. They rethought provoking. Thank you, thank you | :42:52. | :42:56. | |
very much. -- very thought- provoking. | :42:56. | :42:59. | |
The Woman Who Went to Bed for a Year was published by Penguin | :42:59. | :43:09. | |
:43:09. | :43:10. | ||
yesterday. Now, back in the '90s, as Britpop | :43:10. | :43:14. | |
began to shake our charts and Britart began to shake our walls, a | :43:14. | :43:16. | |
new generation of British playwrights were giving the theatre | :43:16. | :43:19. | |
a serious shake up, too. One of the best was Philip Ridley, whose | :43:19. | :43:21. | |
breakthrough play, The Pitchfork Disney, is currently being revived | :43:21. | :43:24. | |
at London's Arcola, while Ridley's latest play, Shivered, premieres in | :43:24. | :43:27. | |
the city's Southwark Playhouse next week. Miranda Sawyer went to take a | :43:27. | :43:35. | |
look at the rehearsals and meet the Philip Ridley writes about what he | :43:35. | :43:42. | |
knows. The East End of London where he was born and where he still | :43:42. | :43:48. | |
lives. It's a landscape that informs all his work. | :43:48. | :43:53. | |
Philip Ridley is a film-maker, a photographer, a painter, an author, | :43:53. | :43:57. | |
a playwright. He's a proper artist whose vision is absolutely | :43:57. | :44:01. | |
unaffected by whatever is deemed to be fashionable, and I am a real fan. | :44:01. | :44:07. | |
It's been over 20 years since his first typically dark play, | :44:07. | :44:10. | |
Pitchfork Disney, was premiered. Claustrophobic and eerie, it tells | :44:11. | :44:14. | |
the tale of twins who lock themselves up in their dead | :44:14. | :44:19. | |
parents' house and tell each other stories about the horrors of the | :44:19. | :44:24. | |
outside world. A lot of what makes it work, if indeed it does work for | :44:24. | :44:29. | |
people is what it does is it takes what for me was personal - all my | :44:29. | :44:35. | |
personal childhood fears or fierce I had going into my teen years and | :44:35. | :44:43. | |
growing up and like when you put liquid in a petri dish and put a | :44:43. | :44:47. | |
Bunsen burner under it, all of these personal things get smaller | :44:47. | :44:51. | |
and smaller until they're a bubble in the bottom of the dish, and at | :44:51. | :44:58. | |
that point it becomes universal. Sometimes you're so - forget it. | :44:58. | :45:03. | |
What? Selfish. Don't call me that. It's not fair after what you did. | :45:03. | :45:11. | |
What did I do? You didn't go to get the shopping. It was your turn. | :45:11. | :45:16. | |
wasn't. Was. Wasn't. When they aren't arguing, they pass | :45:16. | :45:21. | |
the time spinning tales and telling stories, a legacy from Philip | :45:21. | :45:25. | |
Ridley's own childhood. I guess that's what I have done as far back | :45:25. | :45:30. | |
as I can remember, really. I told stories. I was very sick as a child. | :45:30. | :45:33. | |
I suffered from asthma. I was alone for most of the time because of | :45:33. | :45:36. | |
that. I suppose like any child that's in that position, you try | :45:36. | :45:41. | |
and make sense of the world around you by kind of having a very strong | :45:41. | :45:46. | |
internal sort of life. I used to go up on to the roof of the block of | :45:46. | :45:51. | |
flats where I lived, and I would spend hours up there looking at the | :45:51. | :45:56. | |
chimneys and drawing the chimneys and writing stories about the | :45:56. | :46:00. | |
chimneys. But the chimney head drawings were the main things I | :46:00. | :46:05. | |
drew that got me into St Marten's School of Art, so they carried on | :46:05. | :46:10. | |
to my teens. During the '80s when he was an art student, the first of | :46:10. | :46:14. | |
his many children's books was published. Writing for theatre and | :46:14. | :46:18. | |
films followed, but it was his screenplay on the life of the | :46:18. | :46:23. | |
notorious East End gangsters the Crays that established his | :46:23. | :46:28. | |
screenwriting credentials. You make me feel proud - the both of you. | :46:28. | :46:32. | |
You make it all mean something. was a subject that was very close. | :46:33. | :46:36. | |
I grew up with those stories. I grew up with neighbours talking | :46:36. | :46:41. | |
about what the Crays were up to, so you lived with that, and looking | :46:41. | :46:44. | |
back, you kind of think, how ironic that that story should have so many | :46:45. | :46:48. | |
of the things that was going to appear in the rest of the work. You | :46:48. | :46:52. | |
know, you've got twins, East London - all of those things were there, | :46:52. | :47:02. | |
:47:02. | :47:03. | ||
Shivered is his latest play. I joined him in rehearsals before | :47:03. | :47:07. | |
next week's premier. So that's a hundred, yeah, a hundred chances to | :47:07. | :47:11. | |
win first prize, yeah? Shivered started with a feeling of what | :47:11. | :47:15. | |
would happen if I followed a family moving to a new town in Essex full | :47:15. | :47:20. | |
of hope and dreams, and then that kind of grew? It's a scam, all | :47:20. | :47:25. | |
right? Nobody wins. I was going to play around with an | :47:25. | :47:29. | |
extra line. You know when it's - "It's a scam. It's a scam -" that | :47:29. | :47:34. | |
kind of thing, whether you should punctuate the end of that - "Nobody | :47:34. | :47:40. | |
wins." "Oh, you do surprise me." It's the | :47:40. | :47:43. | |
line across the page... What it feels like to me when you're | :47:44. | :47:46. | |
getting this process of getting something together - it feels like | :47:46. | :47:50. | |
a kind of explosion in reverse when you have what looks like just a | :47:50. | :47:54. | |
complete jumble with bits all over the place, then you reverse it, and | :47:54. | :47:59. | |
all of these bits come together, and you go, oh, it's a house! | :47:59. | :48:01. | |
LAUGHTER And that's - the process of writing | :48:01. | :48:05. | |
feels a lot like that to me. For ages I am walking around thinking, | :48:05. | :48:09. | |
I have this bit of a character I am living with, and I have this bit of | :48:09. | :48:12. | |
dialogue I am living with, then gradually all of these come | :48:12. | :48:15. | |
together, so I don't know until that final moment what it is I am | :48:15. | :48:19. | |
doing. I just write and write and write. | :48:19. | :48:23. | |
Shivered marked a new direction for Ridley. His language is as | :48:23. | :48:28. | |
beautiful and barbaric as ever, but the quick hit of the internet and | :48:28. | :48:33. | |
easy access to graphic YouTube clips has influenced not only the | :48:33. | :48:36. | |
content, but the actual struckture of the play. Once I started to | :48:36. | :48:40. | |
explore this little segmented, broken-up structure of the way | :48:40. | :48:43. | |
people are looking at things, that started to feed into the way I | :48:43. | :48:47. | |
wanted to structure the play. Because the play is out of order. | :48:47. | :48:51. | |
Absolutely. It's out of chronology, and it's done in 17 scenes, which | :48:51. | :48:55. | |
if anyone knows my work knows that's a huge amount of scenes for | :48:55. | :48:58. | |
me! Usually they have one scene, that's it. It came out of the | :48:58. | :49:02. | |
nature of what it was - I was dealing with one of the children | :49:02. | :49:05. | |
obsessed with one of these little clips that it started to affect the | :49:05. | :49:09. | |
structure and the language of the play as I wanted to express the | :49:09. | :49:14. | |
story. There must be something worth having a ride on. Mysteries | :49:14. | :49:20. | |
and wonders. Eh? You see that train there painted gold? Yeah. See what | :49:20. | :49:26. | |
it says on the side? Just tell him. "Dare you enter mysteries and | :49:26. | :49:31. | |
wonders." What mysteries and wonders? Roll up. Roll up. Gasp at | :49:31. | :49:36. | |
the 50 rats killed by getting their tails tangled together. If you | :49:36. | :49:41. | |
think back to Pitchfork Disney and think about now when you have | :49:41. | :49:44. | |
written Shivered, do you think you could have written Shivered that | :49:44. | :49:48. | |
time ago? I hope not. The one thing I have always tried to do as much | :49:48. | :49:52. | |
as I can, which is part of the training I got when I was at St | :49:52. | :49:57. | |
Martin's I guess, which is to keep on pushing the envelope and scaring | :49:57. | :50:00. | |
myself really with the next thing - everything should be, for me, like | :50:00. | :50:04. | |
jumping off the edge of a cliff, really, unsure whether you're going | :50:04. | :50:08. | |
to fly or whether you're not going to fly, and you just hope that the | :50:08. | :50:13. | |
leap is enough to give you wings. And where I have landed with this | :50:13. | :50:19. | |
one is Shivered, but I wouldn't have landed there 20 years ago, | :50:19. | :50:23. | |
probably won't next year, but this year I have landed there, and who | :50:23. | :50:27. | |
knows. The Pitchfork Disney is at the | :50:27. | :50:30. | |
Arcola Theatre until the 17th of March, and Shivered is at the | :50:30. | :50:34. | |
Southwark Playhouse from the 7th of March to the 14th of April. Now, a | :50:34. | :50:39. | |
small corner of Manchester is going all ole! Tonight - the Cornerhouse, | :50:39. | :50:43. | |
to be precise, where the 18th Viva! Festival of Spanish and Latin | :50:43. | :50:53. | |
:50:53. | :50:57. | ||
American Film is kicking off. Mark Know in its 18th year, the Viva! | :50:57. | :51:01. | |
Festival is an annual fiesta of top-quality independent Spanish and | :51:01. | :51:07. | |
Latin American films held each year in Manchester's Cornerhouse. | :51:07. | :51:11. | |
Although Spanish may be the third most spoken language on the planet, | :51:11. | :51:15. | |
Viva! Still affords a valuable opportunity to catch some of world | :51:15. | :51:18. | |
cinema's most vibrant films which UK audiences might not otherwise | :51:18. | :51:28. | |
:51:28. | :51:32. | ||
Now, you could argue that casting the next one is rather like lumping | :51:32. | :51:35. | |
films from Germany and other countries. At least this guarantees | :51:35. | :51:40. | |
diversity. This year sees everything from Colombian | :51:40. | :51:44. | |
animations to Venezuelan exploitation movies, Spanish films | :51:44. | :51:54. | |
:51:54. | :52:02. | ||
about unemployed 30-something's and A glance at the movies on offer | :52:02. | :52:05. | |
from Spain this year tells us the Spanish civil war continues to | :52:06. | :52:09. | |
preoccupy the country's filmmakers. It's a theme which is addressed in | :52:09. | :52:15. | |
the opening gala, Paperbirds, in the Catalan movie Black Bread and | :52:15. | :52:25. | |
:52:25. | :52:49. | ||
Carmen, you're a lekturerer at Manchester Metropolitan University. | :52:49. | :52:56. | |
You have casted some of these films like the Circus. Tell me about this. | :52:56. | :53:01. | |
It deals with fantasy in a different way. The film really is | :53:01. | :53:07. | |
around 1973, which is what we can call the transition to the | :53:07. | :53:10. | |
beginning of democracy in Spain. There are very important historical | :53:10. | :53:20. | |
:53:20. | :53:33. | ||
There's a Spanish word used to describe the particular kind of | :53:33. | :53:37. | |
grotesque, surreal film making. Can you describe what it means for us? | :53:37. | :53:42. | |
It is that kind of way of looking to the world - we can find it in | :53:42. | :53:47. | |
Goya in the black painters, for example. I think one of the best | :53:47. | :53:50. | |
examples of this kind of grotesque black humour - the formation of | :53:51. | :54:00. | |
:54:01. | :54:08. | ||
One highlight this year is the excellent Even the Rain directed by | :54:08. | :54:13. | |
Paul Laverty. It tells the the real of a historical film about the | :54:13. | :54:17. | |
cruelty of the conquistadors in which life begins to imitate art a | :54:17. | :54:27. | |
:54:27. | :54:42. | ||
Latin American cinema has exploded on to the world stage in the past | :54:42. | :54:47. | |
decade thanks to Motorcycle Diaries and other movies. Perhaps most | :54:48. | :54:52. | |
interesting at this year's festival are those from two countries from | :54:52. | :54:58. | |
this part of the world not known for their cinematic output, Cuba | :54:58. | :55:08. | |
:55:08. | :55:12. | ||
You were at the world premier of Juan of the Dead. How did it go | :55:12. | :55:15. | |
down? I think it was one of the most fabulous experiences I have | :55:15. | :55:19. | |
had in the cinema. Why? It was a big event for Cubans. They might be | :55:19. | :55:23. | |
completely skint, but somehow they manage to get to the cinema, and on | :55:23. | :55:28. | |
- for this premier, it was in the Chaplain Cinema. I think it holds | :55:28. | :55:33. | |
400 people. When we got there, I think it was at least a thousand - | :55:33. | :55:38. | |
hysterical. It was like carnival outside. What's different about it | :55:38. | :55:43. | |
to any other zombie flick. We have seen American, even Swedish zombie | :55:43. | :55:47. | |
flicks recently. What's different about Juan of the Dead? It's the | :55:47. | :55:51. | |
fact it's in Havana. You know how zombie movies have a strong social | :55:51. | :55:54. | |
context. For example, in the beginning the zombies are regarded | :55:54. | :55:59. | |
as dissidents funded by the US, and there's constant talk about whether | :56:00. | :56:05. | |
or not to flee the zombies by jumping on a boat to Miami. So I | :56:05. | :56:10. | |
think it's kind of poking fun but also being quite patriotic because | :56:11. | :56:20. | |
:56:21. | :56:21. | ||
the hero refuses to jump ship. Now, some time ago, you wrote a | :56:21. | :56:25. | |
book in which you predicted the next part of the wave that was | :56:25. | :56:28. | |
going to break was Venezuela. On the evidence of the films that are | :56:28. | :56:32. | |
at Venezuela this year, do you see that blossoming happening now? | :56:32. | :56:36. | |
There is a bit more finesse, but also a bit more savvyness about | :56:36. | :56:41. | |
them. They're actually kind of understanding - there is a film | :56:41. | :56:45. | |
called Zero Hour, which recognised the value of using genre to | :56:45. | :56:55. | |
:56:55. | :56:56. | ||
That's about a gang that takes over a private hospital on the day of a | :56:56. | :57:01. | |
strike in the public hospitals, and as the girlfriend of the gang | :57:01. | :57:04. | |
leader is heavily pregnant and has been shot, so they can't take her | :57:04. | :57:07. | |
to a public hospital. They just invade this private one and kind of | :57:07. | :57:12. | |
have a Robin Hood day inside the hospital where they're opening the | :57:12. | :57:22. | |
:57:22. | :57:26. | ||
doors for the poor people that He's talking a little bit about a | :57:26. | :57:32. | |
society, but it's a kind of shoot- them-up. It's an exploitation film. | :57:32. | :57:36. | |
Once again, this demonstrates genre is a really good way of getting all | :57:36. | :57:40. | |
of those stories out to the rest of the world? I think so. It's a very | :57:40. | :57:50. | |
:57:50. | :57:54. | ||
good bridge. It's a good cultural And Viva! Runs at Cornerhouse in | :57:54. | :57:57. | |
Manchester until Sunday the 18th of March. Next week we'll be taking a | :57:57. | :58:00. | |
look at the latest exhibition by Gilbert and George and I'll be | :58:00. | :58:03. | |
talking to Florence Welch of Florence and the Machine about the | :58:03. | :58:06. | |
influence of Renaissance Art on her music. We leave you tonight with | :58:06. | :58:10. | |
music from The Choir With No Name. This inspiring group of singers | :58:10. | :58:13. | |
who've all been affected by homelessness will be performing at | :58:13. | :58:15. | |
the Roundhouse tomorrow night as part of The Cultural Olympiad. We | :58:15. | :58:25. | |
:58:25. | :58:30. | ||
caught up with them in rehearsal. # One nation under a groove. | :58:30. | :58:34. | |
# Gettin' down just for the funk of # One nation and we're on the move. | :58:34. | :58:38. | |
# Nothin' can stop us now. # Please don't stop me now. | :58:38. | :58:42. | |
# One nation and we're on the move. # Gettin' down just for the funk of | :58:42. | :58:47. | |
# One nation we're on the move. # Nothin' can stop us now. | :58:47. | :58:52. |